Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

La Bohème, Manitoba

Manitoba Opera’s first production in nine years of Giacomo Puccini’s La Bohème still stirs the heart and inspires tears with its tragic tale of bohemian artists living — and loving — in 1840s Paris.

Arizona Opera Presents Don Pasquale in Tucson

On April 12, 2014, Arizona Opera opened its series of performances of Donizetti's Don Pasquale in Tucson. Chuck Hudson’s production of this opera combined Commedia dell’arte with Hollywood movie history.

Will Don Quichotte Be the Last Production at San Diego Opera?

This quotation from Cervantes was displayed before the opening of the opera’s final scene:

“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”

Gound Faust - Calleja and Terfel, Royal Opera House London

Gounod's Faust makes a much welcomed return to the Royal Opera House. With each new cast, the dynamic changes as the balance between singers shifts and brings out new insights. In that sense, every revival is an opportunity to revisit from new perspectives. This time Bryn Terfel sang Méphistophélès, with Joseph Calleja as Faust - stars whose allure certainly helped fill the hall to capacity. And the audience enjoyed a very good show.

Syracuse Opera’s Porgy and Bess
Got Plenty O’ Plenty

The company ends its 2013-14 season on a high note with a staged performance of Gershwin’s theatrical masterpiece

A New Rusalka in Chicago

Lyric Opera of Chicago’s new production of Antonin Dvorak’s Rusalka is visually impressive and fulfills all possible expectations musically with unquestioned excitement.

Karlsruhe’s Mixed Blessing Ballo

The reliable Badisches Staatstheater has assembled plenty of talent for its new Un Ballo in Maschera.

Louise Alder, Wigmore Hall

This varied, demanding programme indisputably marked soprano Louise Alder as a name to watch.

Luke Bedford: Through His Teeth, Linbury, Royal Opera House

Can this be the best British opera in years? Luke Bedford’s Through His Teeth at the Royal Opera House’s Linbury Theatre is exceptional. Drop everything and go.

Powder Her Face, ENO

As one descends the steel steps into the cavernous bunker of Ambika P3, one seems about to enter rather insalubrious realms — just right one might imagine, then, for an opera which delves into the depths of the seedier side of celebrity life.

Iphigénie Fascinates in the Pfalz

Kaiserslautern’s Pfalztheater has produced a tantalizing realization of Gluck’s Iphigénie en Aulide, characterized by intriguing staging, appealing designs, and best of all, superlative musical standards.

ROH presents Cavalli’s L’Ormindo at the Sam Wanamaker Playhouse, London

Never thought I’d say it but......

Harrison Birtwistle, Elliott Carter, Wigmore Hall, London

Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.

Requiem for a Lost Opera Company

On Wednesday, March 19, 2014, General Director Ian Campbell of San Diego Opera announced that the company would go out of business at the end of this season. The next day the company performed their long-planned Verdi Requiem with a stellar cast including soprano Krassimira Stoyanova, mezzo-soprano Stephanie Blythe, tenor Piotr Beczala, and bass Ferruccio Furlanetto.

The Met’s Werther a tasty mix of singing, staging, acting and orchestral splendor

Visual elements in Richard Eyre’s striking production offset Massenet’s melodic shortcomings

Chicago’s New Barber of Seville

New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.

Lucia in LA: A Performance to Remember

On March 15, 2014, Los Angeles Opera presented Elkhanah Pulitzer’s production of the opera, which she set in 1885 when women were beginning to be recognized as persons separate from their fathers, brothers and husbands. At that time many European countries were beginning to allow women to own property, obtain higher education, and choose their husbands.

San Diego Opera Presents an All Star Ballo in Maschera

On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.

Anne Schwanewilms, Wigmore Hall

From the moment she walked, resplendent in red, onto the Wigmore Hall platform, Anne Schwanewilms radiated a captivating presence — one that kept the audience enthralled throughout this magnificent programme of Romantic song.

Die Frau ohne Schatten, Royal Opera

Magnificent! Following the first night of this new production of Die Frau ohne Schatten, I quipped that I could forgive an opera house anything for musical performance at this level, whether orchestral, vocal, or, in this case, both.

OPERA TODAY ARCHIVES »

Reviews

Rodney Gilfry (Sam), Beth Clayton (Dinah) and Moritz Becker (Sohn) [Photo by Wilfried Hösl courtesy of Bavarian State Opera]
22 Jul 2009

Bought and Paid-for Magic — Bernstein Tahiti in Munich’s Cuvilliès Theater

There she is, in her inch or two of sarong, floating, floating…Oh, excuse me, where was I?

Leonard Bernstein: Trouble in Tahiti

Dinah: Beth Clayton; Sam: Rodney Gilfry; Jazztrio: Angela Brower, Jeffrey Behrens and Todd Boyce. Mahler Chamber Orchestra. Conductor: Kent Nagano. Production Schorsch Kamerun. Set: Constanze Kümmel. Costumes: Tabea Braun. Lighting Michael Bauer. Video: Jo Schramm. Choreography: Volker Michl. Dramaturgy Andrea Schönhofer.

Above: Rodney Gilfry (Sam), Beth Clayton (Dinah) and Moritz Becker (Sohn)

All photos by Wilfried Hösl courtesy of Bavarian State Opera

 

Mozart premiered his Idomeneo in the over-the-top rococco jewel-box Cuvilliès Theater, which is named after its designer, the French dwarf / Bavarian court jester / architect. Leonard Bernstein’s 1952 pocket-sized opera Trouble in Tahiti about a loveless American couple in nameless Suburbia would seem far removed from the world which gave rise to this extravagant pocket-sized opera house. And yet — it somehow made tremendous sense to present there. The “bought and paid-for magic” of transparently ridiculous Hollywood daydreams Bernstein wrote about seems oddly at home with Bavarian rococo. If only that the production concept had been less confused!

Bernstein dedicated his seven-scene Trouble in Tahiti to his friend Marc Blitzstein, whose succès de scandale, Cradle Will Rock, Bernstein had set out to “out-cradle” in his first attempt at composing “the great American opera.” The composer wrote the libretto himself. Bernstein may have downplayed emulating Blitzstein’s Marxist principles, but certainly followed him in attempting to forge a music in vernacular popular musical styles of the day rather than more classical operatic style.

In an interview in his office the morning of the third and last performance of the Bernstein on July 10th, Bavarian State Opera Music Director Kent Nagano joked the new Tahiti production, coming a mere two days after the new Wagner opera production he’d conducted at the National Theater, was actually Lohengrin, part 2.

Both operas feature a neglected and non-singing child, although Tahiti’s semi-unnamed “Junior” is simply ignored as both parents miss his debut in the school play. (This is the autobiographical kernel of Bernstein’s work, his never-forgotten bitterness at his own parents for not showing up for his debut as soloist in Grieg’s Piano Concerto with his Boston Latin School Orchestra. The two characters even originally were given the same names as his parents, but at least changed the wife’s name from Jennie to Dinah. Sam remained Sam.) The neglected child in the Wagner, is of course a bit more ponderous, in that the silent Gottfried (not murdered by his sister at all, but hidden in plain sight as a swan!) is hailed as the Führer of the future.

I couldn’t help wondering, however, if it might not have been better to switch the concepts of these two very different productions: The new production of Lohengrin posited the main character as a “visionary” architect. If Trouble in Tahiti really had to have added stage action, an architect creating multiple soulless tract houses in suburbia would have made a great deal of sense! And imagine if Lohengrin had been set in the abandoned amusement park which showed up (to little purpose) in Tahiti the swan would have made perfect sense! Or the silent, walking (or deflated) blow-up doll versions of several of the characters (too even less purpose) which appeared in the Bernstein, had been employed in the Wagner. It would have been so much fun to have blow-up versions of Ortrud and Telaramond deflate.. And might perhaps the giant lizard in Tahiti make more sense as a wannabe swan?

Tahiti_Munich.gifA scene from Trouble in Tahiti

For Tahiti, which is about the spiritual emptiness that acquisition of things imposes, it seems wrong-headed in the extreme to have a production which uses just about every effect and resource conceivable, however distracting, for minimal, momentary effect. On the tiny stage, the singers seemed to be dealing with a traffic jam, aside from the characters and superfluous extras there were blow-up dolls of the characters, even an turntable roundelay set. A giant lizard. A giant polka-dot toadstool. The director left no trick untried. At one point, even the chandeliers over the audience’s heads were made to dance up and down and flash on and off in time to the music for reasons which escaped me. So much business, the music often got lost. In attempting to depict the spiritual hollowness that comes a life lived from possessions alone, this production becomes the problem it wishes to describe.

Bernstein’s original stage requirements actually insist on something quite different: “Simplicity of execution should be the keynote throughout. Much depends upon precise and imaginative lighting... The composer has conceived as cartoon-like sketches — bold, suggestive, and charming. They should be black and white, almost like a child’s version of each scene... The merest suggestion of skyscrapers, a traffic light, etc., will suffice.... The TRIO should wear evening clothes....[Only black and white should be used.] The only note of color in the visual production is furnished by the clothes of the couple...”

This production violated virtually every one of these express wishes of the composer, to little effect. Moreover, Bernstein did not need or expect the son to appear onstage.

Sometimes less is more. As an attack on consumerism, Bernstein tried something quite remarkable and paradoxical in this work: despite the deliberately pop-ish music, it adheres to the classical unities — the action takes place on a single day, explicitly identifying the spiritual ideas with the morning, afternoon, evening, there are only two singing characters, plus a three-voice trio (“a Greek Chorus born of radio commercials” in the description of the composer). The plan harks back to the Camerata which gave birth to opera in the first place, as does Bernstein’s choice of American vernacular as the musical style of choice.

Endearing oddnesses fill this score: The awkward duet where the husband and wife encounter each other by accident on the street and lie to each other about what they’re doing is marked in the score “Tempo di ‘Gymnopédie’“ — an interesting tip of the hat to Eric Satie. In fact, there are many references to other composers in this work. The ending, for example, is a blatant overreach towards the final scene of Wozzeck although the tragedy of this opera and the hurt to the child in question hardly rise to the level of the Berg opera. Tahiti does not lack for critics. Its final scene here strives for a grandiosity of which he was not yet capable, at least not until the La Bohème-like finale of West Side Story. But for me, it’s largely only in the grand opera part of the quotient that he failed here. Outside of that, what he did achieve is vivid and substantial indeed. “Trouble in Tahiti” is a masterpiece of its kind, and it remains fascinating to hear the bursting potential of this 1952 time-capsule from the start of the composer’s career.

Tahiti_Munich_02.gifBeth Clayton (Dinah)

Tahiti was the eleventh new production to be conducted by Kent Nagano since his appointment as Music Director. These performances marked the world premiere of the new reduced-orchestration (for 14 musicians, instead of Bernstein’s original 21) by Garth Edwin Sunderland. Nagano is utterly at home conducting this music, fluid and convincing, (as he was also with the Lohengrin two days later). Rather than the Bavarian State Opera Orchestra, however, for this production the players of the Mahler Chamber Orchestra were in the pit, and they responded spectacularly well and with a quite stunningly precise purity of intonation. Sunderland’s new arrangement did not seem to have made much compromise of the music, with perhaps only the introduction to Sam’s aria excepted.

The chorus (Angela Brower, Jeffrey Behrens, Todd Boyce) — clown make-up aside — sang wonderfully, beautifully blending their voices to a clear cohesive unit and precise diction, moreover perfectly conveying the musicality of the morning, midday, afternoon and twilight progression of their numbers. The soloists however, were less impressive, although one wonders what they might have done if they’d been allowed to concentrate on singing and not have to cope with all the unnecessary distractions on the stage. Beth Clayton was a good but not tremendously dynamic Dinah. Interestingly, she did not use the “in South Pacific accent” Bernstein stipulated in his score to describe how she is to imitate the “natives’“ singing in her eponymous show-stopper about the imaginary Hollywood South Seas escapist film she’s just seen. (Yes it is racist, and Bernstein, an expert on racism in the arts — that was the topic of his senior Harvard thesis — deliberately intended the shock and humor of that effect, not watered down as it was here.) Rodney Gilfrey had fine diction but trouble being heard as well as a distressingly wide vibrato in held notes in the role of Sam. His physical tightness — was it the small stage? or the odd changes of meter of his music? bad back? — made Sam seem less than the “winner” he is supposed to embody.

The biggest flaw of this Tahiti, however, was the stillborn curtain-raiser director Schorsch Kamerun inserted to introduce the Bernstein. Called “Bevor der Ärger richtig losgeht...” (Before the Trouble Gets Going...), This consisted of four German punk songs with music by David R. Coleman to texts by four different German punk bands: “Diese Menscehn sind ehrlich” (These people are honest) by Die Goldenen Zitronen (The Golden Lemons, the band Mr. Kamerun had sung with in the 1970’s), F.S.K.’s “Das is der morderne Welt” (This is the modern world), as well as “Angst macht keinen Lärm” (Fear makes no noise) by Angeschissen (Shit-upon), and “Es regnet Kaviar” (It’s raining caviar) by Tolerantes Brandenburg (Tolerant Brandenburg). While Bernstein’s 40-minute opera does require something else to make a full evening, this cringe-inducing material was not it. These four punk songs were accompanied by silent video by Jo Schramm of a clown opening a book which displayed a film of imagined disputes between the opera characters (as themselves or as blow-up dolls) in the 1960’s style suburban living room set of the first scene. The clown, not able to do much other look malevolent, eventually just sank his teeth into the book. The set itself was only revealed after the curtain was raised. Over the fireplace was a big painting of a smiley face, and the first action of Dinah was to rotate its mouth from frown to smile.

At the end of his career, Bernstein folded this earlier work into a full-scale opera named after one of Dinah’s songs here, “A Quiet Place.” In the late work, thirty years have gone by, Dinah has died (off-stage) in a car crash, and the family gathers for her funeral. Junior is gay and possibly psychotic and has a sister, Dede, who has married his former lover François. Sam is alienated from everyone. All seek reconciliation. The work has yet to succeed in performance. “I worked with Bernstein when he did A Quiet Place’ in Vienna, Nagano confided with a sigh. “It’s a score that remains on my piano. It’s a visionary work, and like all visionary works, it may someday be better understood.”

A word of praise on a separate note: For those of us who feel that opera is a significant artistic endeavor, one of the great joys of all productions of the Bavarian State Opera is each production is accompanied by an astonishingly hefty, well-produced book filled with not just the libretto text, but also thought-provoking background essays on the work and the production also with additional diverse historical texts which are quite substantial and enlightening (that is, if one reads German). The book for Trouble in Tahiti, for example, is at pains to place this work in its proper context musical, social, political and historic context. This is particularly important to understand for this work, as polymath and polyglot Bernstein intended this work to be an explicitly American opera, eschewing European conventions while favoring — to the extent possible — nativist vernacular. He aimed to elide the full range of compositional alternatives to create an unbroken continuum from popular music to grand opera. To my surprise, the German translation of Bernstein’s quite vernacular 1952 libretto, included in this book, seems to work very well.

Raphael Mostel © 2009

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):