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Die Meistersinger at the theatre in which it was premiered, on
Wagner’s birthday: an inviting prospect by any standards, still more so
given the director, conductor, and cast, still more so given the opportunity to
see three different productions within little more than a couple of
Opera houses’ neglect of Janáček remains one of the most baffling of the many baffling aspects of the ‘repertoire’. At least three of the composer’s operas would be perfect introductions to the art form: Jenůfa, Katya Kabanova, or The Cunning Little Vixen would surely hook most for life. From the House of the Dead might do likewise for someone of a rather different disposition, sceptical of opera’s claims and conventions.
Director Annabel Arden believes that Rossini’s Il barbiere di Siviglia is ‘all about playfulness, theatricality, light and movement’. It’s certainly ‘about’ those things and they are, as Arden suggests, ‘based in the music’.
George Enescu’s Oedipe was premiered in Paris 1936 but it has taken 80 years for the opera to reach the stage of Covent Garden. This production by Àlex Ollé (a member of the Catalan theatrical group, La Fura Dels Baus) and Valentina Carrasco, which arrives in London via La Monnaie where it was presented in 2011, was eagerly awaited and did not disappoint.
Lyric Opera of Chicago staged Charles Gounod’s Roméo et Juliette as the last opera in its current subscription season.
‘The plot is perhaps the least moral in all opera; wrong triumphs in the name of love and we are not expected to mind.’
Anthony Minghella’s production of Madame Butterfly for ENO is
wearing well. First seen in 2005, it is now being aired for the sixth time and is still, as I observed in 2013, ‘a breath-taking visual banquet’.
This concert version of La straniera felt like a compulsory musicology field trip, but it had enough vocal flashes to lobby for more frequent performances of this midway Bellini.
As poetry is the harmony of words, so music is that of notes; and as poetry is a rise above prose and oratory, so is music the exaltation of poetry.
From experiments with musique concrète in the 1940s, to the
Minimalists’ explorations into tape-loop effects in the 1960s, via the
appearance of hip-hop in the 1970s and its subsequent influence on electronic
dance music in the 1980s, to digital production methods today,
‘sampling’ techniques have been employed by musicians working in
genres as diverse as jazz fusion, psychedelic rock and classical music.
On May 7, 2016, San Diego Opera presented the West Coast premiere of Great Scott, an opera by Terrence McNally and Jake Heggie. McNally’s original libretto pokes fun at everything from football to bel canto period opera. It includes snippets of nineteenth century tunes as well as Heggie's own bel canto writing.
A foiled abduction, a castle-threatening inferno, romantic infatuation, guilt-laden near-suicide, gun-shots and knife-blows: Andrea Leone Tottola’s libretto for Vincenzo Bellini’s first opera, Adelson e Salvini, certainly does not lack dramatic incident.
Opera as an art form has never shied away from the grittier shadows of life. Nor has Manitoba Opera, with its recent past productions dealing with torture, incest, murder and desperate political prisoners still so tragically relevant today.
Published in 1855 as an entertainment for his two daughters, William Makepeace Thackeray’s The Rose and the Ring is a burlesque fairy-tale whose plot — to the author’s wilful delight, perhaps — defies summation and elucidation.
What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.
I suspect that many of those at the Wigmore Hall for The King’s
Consort’s performance of the La Senna festeggiante (The
Rejoicing Seine) were lured by the cachet of ‘Antonio Vivaldi’ and
further enticed by the notion of a lover’s serenade at which the generic
term ‘serenata’ seems to hint.
Having enjoyed superb singing by a young cast of soloists in Classical
Opera’s UK premiere of Jommelli’s Il Vogoleso the
previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final
at the Wigmore Hall confirmed the strength and depth of talent possessed by the
young singers studying in and emerging from our academies and conservatoires.
On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.
Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.
London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.
27 Jul 2009
An Evening at Père Lachaise [Or, Natalie Dessay Attempts Violetta]
A fine-sounding Santa Fe Opera orchestra, excellently conducted by Frédéric
Chaslin, was barely into the haunting, delicate prelude to Act I of La
traviata, when a funeral procession, wet umbrellas unfurled, arrived to
wend its way though a stage full of big grey marble rectangular boxes,
handsomely abstracted tomb shapes, soon to be the courtesan Violetta
Valéry’s destination. So much for the Prelude to Act I.
Saimir Pirgu (Alfredo)
During the intensely dramatic prelude to Act IV, anonymous stage figures in
half light, darted about draping the tombs with white shrouds preparing the
death scene of Violetta — so much for that essential orchestral moment;
again our attention had fled. For Flora Bervoix’s Act III party, the
weighty boxes, artfully arranged at varying heights, served as pedestals to
show off swaying party girls in lavish 20th century dancing gowns.
“Dancing on her grave?” Santa Fe’s new mounting of
Verdi’s opera, largely the work of a director Laurent Pelly’s
French team and the prima donna Natalie Dessay, seemed an evening at Père
Lachaise, almost literally, but Lachaise-manqué, transmogrified. The conceit
was interesting; many in the audience liked it and enjoyed its innovative
energy, yet it was, as we say, for its own sake — it added no new insight
into the old opera. It could also get in the way.
Laurent Naouri (Germont) & Natalie Dessay (Violetta)
Opinion divides on Mme. Dessay, as it usually will when coloraturas essay
Violetta’s essentially dramatic role. Through history, light-voiced divas
such as Galli-Curci, Lily Pons and Roberta Peters have tried and faded with the
fatal part. Deconstructively ruinous at Santa Fe was Dessay’s Act II
costume — dull, shapeless cotton slacks and a large man’s-style
white overshirt; barefoot. She was a 1960s hippie caught at home. The problem
was it robbed her of much dignity: and Violetta’s self-denying dignity is
key to the effect of this central act, with the two Germont men, each asking
her something different, and opposing. She is cruelly torn; it takes all her
resources to survive intact. By dressing her way down for the big confrontation
scenes, Dessay’s Violetta lost a lot of feminine stature and,
unintentionally I am sure, pushed her comic-seeming side; she looked raffish
and moved in an almost Carol Burnett way — all wrong. Producer Pelly got
this act badly off key. To do anything to defeminize Violetta is a grave
mistake. Violetta must be poignantly believable in Act II — or her show
does not fly, hélas!
The device of the graveyard underlying the whole opera seemed an over-kill,
ultimately a kind of director’s bad joke. Once again, where was dignity,
seriousness? La traviata is a mid-19th century tragic opera, with many
social overtones; it is most certainly to be taken seriously. But I did not
sense a lot of that with M. Pelly, though the performing artists worked hard.
Where was letting the music speak for itself (as in the two preludes mentioned
above)? Is it anything less than an affront to second-guess Giuseppe Verdi in
judging the effect of his music, and what it takes to put it over in theatrical
terms? Opera lovers will have their own views on this. In an interesting touch,
Père Germont was costumed and played as a 19th century figure, and that he
surely is; but Violetta is no less so, and to take her out of that cultural
milieu was counterproductive.
Natalie Dessay (Violetta)
Finally, Mme. Dessay is not a Violetta. As seen on the Santa Fe
stage, she is a little bird — in Act I a frantic, drunken little bird
with an orange wig and bright red and pink plumage; by the end she was a
plucked pullet flopping about the stage. Her voice does not have the dynamic or
tonal range to explore the full dimensions of Verdi’s music or
Violetta’s emotions; it is almost always the same color. She was wise to
sing both stanzas of “Addio del passato…” for a soft
pianissimo tone is her best asset just now, and she long held the aria’s
final p. high-A. A singular moment. I like Mme. Dessay a lot, and she’s
had a wonderful career, especially considering two throat surgeries and a
baritone husband. I think she has the spunk, but ultimately not enough vocal
resource to do justice to Verdi’s paragon soprano role. The surprise of
the evening was the excellence of Parisian baritone Laurent Naouri in the role
of Père Germont. His well-voiced traditional portrayal played strongly against
the eccentricity of the rest of the production; he showed vividly how this
wonderful opera should be treated. The young Alfredo was debut artist Saimir
Pirgu, an Albanian tenor with a pleasing voice and manner, graced by a nice
smile. In the latter stages of the opera he warmed to some beautiful soft-toned
J. A. Van Sant ©2009