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!”
On March 24, 2017, Los Angeles Opera revived its co-production of Jacques Offenbach’s The Tales of Hoffmann which has also been seen at the Mariinsky Opera in Leningrad and the Washington National Opera in the District of Columbia.
Ermonela Jaho is fast becoming a favourite of Covent Garden audiences, following her acclaimed appearances in the House as Mimì, Manon and Suor Angelica, and on the evidence of this terrific performance as Puccini’s Japanese ingénue, Cio-Cio-San, it’s easy to understand why. Taking the title role in the first of two casts for this fifth revival of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, Jaho was every inch the love-sick 15-year-old: innocent, fresh, vulnerable, her hope unfaltering, her heart unwavering.
Calliope Tsoupaki’s latest opera, Fortress Europe, premiered as spring began taming the winter storms in the Mediterranean.
To celebrate its 40th anniversary New Sussex Opera has set itself the challenge of bringing together the six scenes - sometimes described as six discrete ‘tone poems’ - which form Delius’s A Village Romeo and Juliet into a coherent musico-dramatic narrative.
Following highly successful UK premières of Salieri’s Falstaff (in 2003) and Trofonio’s Cave (2015), this summer Bampton Classical Opera will present the first UK performances since the late 18th century of arguably his most popular success: the bitter comedy of marital feuding, The School of Jealousy (La scuola de’ gelosi). The production will be designed and directed by Jeremy Gray and conducted by Anthony Kraus from Opera North. The English translation will be by Gilly French and Jeremy Gray. The cast includes Nathalie Chalkley (soprano), Thomas Herford (tenor) and five singers making their Bampton débuts:, Rhiannon Llewellyn (soprano), Kate Howden (mezzo-soprano), Alessandro Fisher (tenor), Matthew Sprange (baritone) and Samuel Pantcheff (baritone). Alessandro was the joint winner of the Kathleen Ferrier Competition 2016.
Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of Leoš Janàček’s 1921 domestic tragedy, and not entirely in a good way.
Applications are now open for the Bampton Classical Opera Young Singers’ Competition 2017. This biennial competition was first launched in 2013 to celebrate the company’s 20th birthday, and is aimed at identifying the finest emerging young opera singers currently working in the UK.
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
Handel’s Partenope (1730), written for his first season at the King’s Theatre, is a paradox: an anti-heroic opera seria. It recounts a fictional historic episode with a healthy dose of buffa humour as heroism is held up to ridicule. Musicologist Edward Dent suggested that there was something Shakespearean about Partenope - and with its complex (nonsensical?) inter-relationships, cross-dressing disguises and concluding double-wedding it certainly has a touch of Twelfth Night about it. But, while the ‘plot’ may seem inconsequential or superficial, Handel’s music, as ever, probes the profundities of human nature.
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
A skewering of the preening pretentiousness of the Pre-Raphaelites and Aesthetes of the late-nineteenth century, Gilbert and Sullivan’s 1881 operetta Patience outlives the fashion that fashioned it, and makes mincemeat of mincing dandies and divas, of whatever period, who value style over substance, art over life.
Irish mezzo-soprano Tara Erraught demonstrated a relaxed, easy manner and obvious enjoyment of both the music itself and its communication to the audience during this varied Rosenblatt Series concert at the Wigmore Hall. Erraught and her musical partners for the evening - clarinettist Ulrich Pluta and pianist James Baillieu - were equally adept at capturing both the fresh lyricism of the exchanges between voice and clarinet in the concert arias of the first half of the programme and clinching precise dramatic moods and moments in the operatic arias that followed the interval.
This Sunday the Metropolitan Opera will feature as part of the BBC Radio 3 documentary, Opera Across the Waves, in which critic and academic Flora Willson explores how opera is engaging new audiences. The 45-minute programme explores the roots of global opera broadcasting and how in particular, New York’s Metropolitan Opera became one of the most iconic and powerful producers of opera.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
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