21 Jul 2009
A knock-out Ariadne auf Naxos at Munich’s Bavarian State Opera Festival
There are rare times when a critic can just enjoy, and say “Wow!”
Bernard Haitink’s monumental Bruckner and Mahler performances with the Royal Concertgebouw Orchestra (RCO) got me hooked on classical music. His legendary performance of Bruckner’s Symphony No. 8 in C-minor, where in the Finale loosened plaster fell from the Concertgebouw ceiling, is still recounted in Amsterdam.
Karita Mattila was born to sing Emilia Marty, the diva around whom revolves Leoš Janáček's The Makropulos Affair (Věc Makropulos). At Prom 45, she shone all the more because she was conducted by Jirí Belohlávek and performed alongside a superb cast from the National Theatre, Prague, probably the finest and most idiomatic exponents of this repertoire.
‘Two outrageous operas in one crazy evening,’ reads the bill. Hyperbole? Certainly not when the operas are two of Jacques Offenbach’s more off-the-wall bouffoneries and when the company is Opera della Luna whose artistic director, Jeff Clarke, is blessed with the comic imagination and theatrical nous to turn even the most vacuous trivia into a sharp and sassy riotous romp.
This performance of Britten's A Midsummer Night's Dream at Glyndebourne was so good that it was the highlight of the whole season, making the term ‘revival’ utterly irrelevant. Jakub Hrůša is always stimulating, but on this occasion, his conducting was so inspired that I found myself closing my eyes in order to concentrate on what he revealed in Britten's quirky but brilliant score. Eyes closed in this famous production by Peter Hall, first seen in 1981?
A staged piano recital and an opera as a concert. Pianist András Schiff accompanied the Salzburg Marionette Theater at the Mozarteum Grosser Saal and Anna Netrebko sang Manon Lescaut at the Grosses Festspielhaus.
On August 4, 2016, soprano Leah Crocetto and accompanist Tamara Sanikidze gave a recital at the Scottish Rite Center in Santa Fe New Mexico. A winner of the Metropolitan Opera Auditions and the BBC Cardiff Singer of the World Contest, this year Crocetto was singing Donna Anna in Santa Fe Opera’s excellent Don Giovanni.
On July 31, 2016, against the ethereal beauty of the main hall in the Scottish Rite Center, soprano Angela Meade and pianist Joe Illick gave a recital offering both opera and art songs ranging in origin from early nineteenth century Europe to mid twentieth century America. Many in the audience probably remembered Meade’s recent excellent portrayal of Norma at Los Angeles Opera.
When more is definitely more, and less would indeed be less. Two of the biggest names in Italian theater art collide in an eponymous theater.
It was the fifth Proms Chamber Music concert at Cadogan Hall this season, and we were celebrating Shakespeare’s 400th. And, given the extent and range of the composers and artists, and the diversity and profundity of the musical achievement inspired by the Bard, we could probably keep celebrating in this fashion ad infinitum.
Each August the bleak and leaky, 12,000 seat Arena Adriatica (home of the famed Pesaro basketball team) magically transforms itself into an improvised opera house that boasts the ultimate in opera chic — exemplary Rossini production standards for its now twelve hundred seats.
This highly enjoyable Prom, part of 2016’s ‘Proms at ’ mini-series, took as its guiding concept the reopening of London’s theatres following the Restoration, focusing in particular upon musical and dramatic responses to Shakespeare. Purcell, rightly, loomed large, with John Blow and Matthew Locke joining him. Receiving their Proms premieres were the excerpts from Timon of Athens and those from Locke’s The Tempest.
With all the bombast of the presidential campaigns rattling in our heads, with invectives being exchanged and measured discussion all but absent, how utterly lovely to retreat and relax into the harmonious soundscape and well-reasoned debate posed in Strauss’ Capriccio, on magnificent display at Santa Fe Opera.
When we entered the Crosby Theatre for Gounod’s Roméo et Juliette the stage was surprisingly dominated by a somber, semi-circular black mausoleum, many chambers inscribed with scrambled names of US Civil War era dead.
Molten passions were seething just below the icy Nordic exterior of Santa Fe Opera’s wholly masterful production of Barber’s Vanessa.
Farce is probably the most difficult of dramatic comedy sub-genres to put across. A farce got up in the stately robes of opera sets its presenters an even higher bar. Presenting an operatic farce on a notoriously chilly and cavernous auditorium is to risk catastrophe.
Fan interest began raging when Santa Fe Opera engaged venerable artist Patricia Racette to make her role debut as Minnie in Puccini’s La Fanciulla del West.
A funny thing happened on the way to Andalusia.
The tale of a Syrian donkey driver. And, yes, the donkey stole the show! The competition was intense — the Vienna Philharmonic and the Grosses Festspielhaus in full production regalia for starters.
Two men, one woman. Both men worshipped and enshrined her in their music. The younger man was both devotee of and rival to the elder.
This Cosi fan tutte concludes the Salzburg Festival's current Mozart / DaPonte cycle staged by Sven-Eric Bechtolf, the festival's head of artistic planning.
There are rare times when a critic can just enjoy, and say “Wow!”
The lucky audience at the Bavarian State Opera Festival’s Ariadne auf Naxos was witness to one of the most remarkably fluid and fun performances of this Richard Strauss work it has been my pleasure to see. The quirky production, every member of the cast — even deeply into the smallest roles — the conductor and the orchestra, all were of a single mind, and all at the top of their game. The result was total, unalloyed delight. It doesn’t get better than this.
From the very beginning, with dozens of mirrors wheeled on to the empty black stage, their reflections and changing placement instantly fracturing the stage focus into kaleidoscopically reconfigured crystalline structures — not unlike in the celebrated climax of Orson Welles’ classic film “Lady from Shanghai,” a chase set in a fun-house of mirrors — this genius production by Robert Carsen beautifully embodied the Hoffmanstahl/Strauss conceit of irrationally mixing up two disparate genres. If perhaps there was one too many upright pianos wheeled onstage here, or an occasional longeur there, these were minor cavils when the whole is such a beautifully realized directorial high-wire act. If theater is just smoke and mirrors, Carsen managed it brilliantly with barely more than the latter.
Scene from Ariadne auf Naxos with Diana Damrau as Zerbinetta in the foreground
The audience’s darling, as it should be, was the Zerbinetta of Diana Damrau, who proved capable of an astonishing range of physical acting, vocal pyrotechnics, and plain delight throughout the performance. Her red high heels came on and off with aplomb as she negotiated the virtuoso demands of the part and the production. She presents herself with a freshness and seemingly off-the-cuff decisions that are nothing short of daringly breathtaking. Even the most strenuous episodes came off with an irrepressible naturalness which is the opposite of studied. One hardly knows what to praise more, her musicianship or her acting — but the two cannot be separated. They form a seamless wonder, with or without those red high-heels.
But Damrau was hardly alone in this deep cast of talented artists. Each contributed his or her more than considerable best. Primadonna/Ariadne, Adrianne Pieczonka and Composer Daniela Sindram were also as magnificent in their fiery roles, and gave no grounds for anything other than complete admiration. Everyone in the cast made the most of their moments to shine. Martin Gantner (Musiklehrer) was suitably aggrieved. Burkhard Fritz was an outstanding Tenor/Bacchus. Nikolay Brochev (Harlequin), Ulrich Ress (Scaramuccio), Steven Humes (Truffaldin), Kevin Conners (Brighella), Christian Rieger (Lakai), Guy de Mey (Tanzmeister), Kenneth Robertson (Offizier), Aga Mikolaj (Najade), Nicole Piccolomini (Dryade), Sine Bundgaard (Echo) were all excellent. Todd Boyce, who two nights before had been one of the clown-chorus of Bernstein’s Trouble in Tahiti, here was an amusing Wigmaker. Non-singing actor Johannes Klama was a most officious Haushofmeister. Bravi tutti.Scene from Ariadne auf Naxos with Adrianne Pieczonka as the Primadonna in foreground
Under the baton of Bertrand de Billy, he Bavarian State Opera Orchestra did itself more than proud, effortlessly supporting the singers and the stage action. All played exquisitely, with verve and delightful, drawing exquisite colors out of this perversely refined yet tatterdemalion score, wheezing harmonium included.
My one and only complaint is the lack of intermission between Vorspiel and “opera” proper, especially since the wooden seats of the Bayreuth-like Prinzregenten Theater begin to test the physical limits of the audience for such a long period, reminding one why German, apparently alone among languages, has that particular word Sitzfleisch, or sitting endurance. But more importantly, a toast would have been welcome for such a bravura display of artistry before plunging into the “performance” proper, It also forced the Composer in this production to spend the second half of the work standing mute at the foot of the stage among the audience, looking on. A missed opportunity for the audience to collectively celebrate their great good luck to be able to witness such a marvelous, dizzyingly witty and rich realization of this complex work.Daniela Sindram as Der Komponist
The performance took place in the Bayreuth-like art-deco Prinzregenten Theater, the middle-sized of the Bavarian State Opera’s three opera houses, located by Munich’s Isar river.
Raphael Mostel © 2009