19 Jul 2009
Festival Aix-en-Provence by Stéphan Lissner
The Aix Festival imagines itself one of Europe’s great festivals, defining itself as the crossroads of European culture.
A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure, this new production presents the plot as the dying protagonist’s feverish hallucinations. The result is a frosty retelling of what is arguably Puccini’s most hot-blooded opera. Musically, the performance also left much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang bergetar akan terhapus.” (“The transient cannot hold on to stars lost in the Milky Way; that which quivers will be erased.”) As soprano Tony Arnold sang these words of Tony Prabowo’s chamber opera Pastoral, with astonishingly crisp Indonesian diction, the first night of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
Manitoba Underground Opera took audiences on a journey — literally and figuratively — as it presented its latest installment of repertory opera between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
The Aix Festival imagines itself one of Europe’s great festivals, defining itself as the crossroads of European culture.
This summer (July 3 - 31, 2009) is its sixty-first edition, though perhaps more importantly it is the twelfth edition of the Festival as re-invented by Stéphan Lissner. The Festival is now overseen by Bernard Foccroulle as Mr. Lissner has assumed the higher calling of setting things straight at Milan’s La Scala.
Miracles wrought by Mr. Lissner in his nine years at the helm in Aix (1998 - 2006) include revamping the Festival’s signature performing space, the open air 1300 seat Théâtre d’Archeveché, the construction of the Grand Théåtre de Provence, a 1400 seat indoor multi-purpose theater capable of hosting fairly large scale opera productions, the revitalization of a small, old Italian style theater, the Jeu de Paume for Festival use, inaugurating use of the Grand Saint Jean countryside park a few kilometers from Aix for small, technically simple productions, and establishing a facility for scenic construction. Whew.
Mr. Lissner conceived the Académie Européenne de Musique that has grown to include workshops in opera, lieder, chamber music, and opera production during the festival period (this summer there are eighty-five participants and a faculty of thirty). And he has conceived such magnificent opera projects as a Stéphane Braunschweig production of Wagner’s Ring with the Berlin Philharmonic and Sir Simon Rattle in the pit. This summer was its final installment, four performances of Götterdämmerung. Wow.
An enormous accomplishment indeed, though all that was lacking was good opera. Mr. Lissner’s artistic Ideas were pretentious, productions were ill-conceived, and performances were mediocre. It is hard to think of exceptions though surely there must have been some. Meanwhile the predominately French audiences did not seem to mind, as they flocked to performances. Go figure.
This summer, the third festival guided by Bernard Foccroulle, offers glimmers of hope that the tide has turned, this hope based on two productions seen in its opening days, Mozart’s Idomeneo and Offenbach’s Orphée aux Enfers. The Idomeneo was just what a festival production should be — one well beyond the scope of an ordinary season of opera. The orchestra was Les Musiciens du Louvre - Grenoble, playing on period instruments, the conductor Marc Minkowski is a specialist in period style. The production, by Olivier Py, pushed the envelope with huge, stilt-legged, light metal platform constructions that were in continuous, balletic motion, no electronically controlled horsepower here, only the flexed muscles and sweat of ten (or so) formally dressed, athletic grips (stagehands), these classy oversized nibelungens always in full, working view.A scene from Idomeneo
Three and one half hours into the performance (performances begin a dusk, 9:30 PM, thus at 1 AM) we hit the ballet. Not only did the set elements begin to fly, i.e. move wildly around the stage, seven dancers retold the entire story in frenetic, fast forward pantomime for a final fifteen minutes. Then the house came down, including some French inflected boos (hoos in French). And the final curtain descended to a huge whoop from backstage — relief and pleasure that they had achieved a miracle, a flawless (or so it seemed) convergence of a myriad of elements realized against all possible odds.
The cast were fine young singers who continuously inter-played in complex staging with the monumental buildings of Crete, Idomeneo its shirt-sleaves-rolled-up master builder. Eminently striking was the use of a tenor voice for Idamante, Mozart’s original counter-tenor — the French back then and now too apparently never cottoning up to male mutilation even for artistic purposes. Absence of cross dressing (the mezzo as male) also makes story telling more direct these days though changing the clef (tessitura) of this voice robbed its music of much of its power.
Olivier Py’s concept was naive, if blatant — white and black, i.e. modern dressed Europeans and versus Africans in modern countryside regalia. Illa was a beautiful young singer of vaguely African origins, her dancer counterpart for the ballet was a lithely beautiful Black nymph, plus three strong, young black dancer warriors and two Brown Cretans. Not to mention a few real African figurants (supers). Of course the dynamic between Europeans and Africans is far from that of the Cretans and the Thebians so this heavy-handed social commentary look was far from appropriate. But who cares, the performance was magnificent.A scene from Götterdämmerung
When it was all over suspicions arose that we had not heard the piece, short of a couple of show-stopping arias in the first act, the famous third act quartet having been lost amongst the choreography of the singers moving within the moving set. But this suspicion was quickly supplanted by the notion that this had been a true gesamtkunstwerk, a synthesis of all the arts that make opera — the rigid and controlled tempos appropriate to Baroque musical structures were realized on the primitive versions of modern instruments melting into the stark architectural structures moving dance like on the stage together with the supple bodies and pure young voices of idealized Mozartian singers. This production was proof that this Mozart opera transcends its music.
Operas in Aix are largely about conducting and staging. Less about singing. The price of a single ticket indicates what to expect. Ring tickets cost 350 euros each ($525), the singers biographies ticking off Bayreuth, Vienna, the Metropolitan Opera, Covent Garden, etc. Idomeneo tickets cost 210 euros ($315), its singers mixing often substantial major theater credits with important regional opera house credits, and finally the 170 euros ($255) price of an Orphée aux Enfers ticket provides entry level professionals and the occasional alumnus of the Aix Festival’s Académie programs.
The lower ticket price does not mean lesser attention to conducting and production, the Orphée aux Enfers as case in point. The show was in the pit, conductor Alain Altinoglu whipped up the Camerata Salzburg orchestra, here forty some players (more or less the number Offenbach used at the Theatre des Bouffes Parisienne in 1858 into a frenzy of amusing musical details that graciously titillated the far-from-subtle satire of Second Empire life. This lively young conducting star moved the musical action along at a comfortable, always lively toe-tapping pace until the can-can, taken at its fitting breakneck speed and danced (sort of) by everyone on stage (real dancers need slower tempi because they kick much higher).A scene from Orphée aux Enfers
The fun was in the pit, far more than on the stage, the young singers, some less able than others to substantiate the larger-than-life personalities of Offenbach’s Olympian personalities. This however was the strength of Yves Beaunesne’s production. The young artists did what they could do without the usual overload of opera-stars-having-fun. Truly exceptional was the virtuoso violin mimicking of Orphée (Julien Behr) and the opera comedy monologue inserted by John Styx (Jérôme Billy) that had the audience and the orchestra (especially Mo. Altinoglu) in stitches.
The modest, and truly intelligent tone of the production was perfection, as it let the personalities of these charming young artists shine. There was no attempt to magnify the humor, to push to show over-the-top. Decors were cleverly created to capture the modesty of production of this first Offenbach operetta (this first version succeeding far more than its later Offenbach re-make, and countless productions since, all seeking to make the operetta fun when it already is — just ask Mo. Altinoglu). l The Olympus scenes were especially effective, a grand dinner party using the architectural elements of the facade of the old Episcopal palace, (now the back wall of the theater) bathed in a sickly yellow-gold light that was un-enviably other-worldly, with the drugged-out Olympians in gorgeous formal dress strewn about the stage (the costumer, Patrice Cauchetier wore a cream colored shirt printed with luscious giant red roses for the opening night bows).
The Götterdämmerung was, one assumes, a legacy of the Lissner regime. Stéphane Braunschweig is a director/designer, thus in principal achieves one unified vision without the distraction of collaboration. Mr. Braunschweig bestowed an exquisitely beautiful, ultra minimalist look (elevators rose and descended creating basic stair, bench, pit forms) evoked distilled abstractions of locale, the forest was an abstract sculpture of five, tall narrow trees. Mr. Braunschweig did not burden his “look” with a conception, his minimally costumed (basic black or white generic male or female shapes, save Siegfried who was in brown plaid) actors played Wagner’s domestic comedy in clean, very precise movements and placement, often with toes touching the edge of the downstage, i.e. facing directly into the hall. This very effective trick did not always work well. Brünnhilde stood there way too long while what we wanted was to see some real fire consume her.
This minimalist staging, believe it or not, held its own much of the time just above the splendor of the Berlin Philharmonic seated just below, Sir Simon Rattle pulling forth the Wagnerian leitmotifs with a purity of tone that seemed the primal discovery of mythic drama. This created a dramatic reality for the actors that heightened their sordid humanity, the soap opera baseness overcome by the solemnity of the music of Wagnerian philosophy. While true poetry sometimes emerged from the pit — the brass choir sang the break of day with splendid purity — little poetry was projected from the stage, the out-of-place realistic video of spring water undermined the usual poetic innocence of the charming encounter of the Rhine Maidens with Siegfried at the beginning of the third act.
When finally the medium sized square of video flames subsided, we saw the chorus dressed in shining white formal wear gazing down into a huge geometric pit that had opened through the floor of the stage. One longed for a Calixto Bieito resolution where the chorus would surely be naked (obligatoire), and where there would be an outhouse nearby (obligatoire) to make Wagner’s purified humanity even more primal, and to make our encounter with this nineteenth century artistic monument a real one.
It was, of course, Cadillac casting — fine singing actors who perform these roles on the world’s great stages, including Ben Heppner who was a fish out of water in this high “look” production.
Three operas in three days, a fourth to come later in the month. Imagine an Austrian orchestra, a French one no to mention the hundred and twenty of so players of the Berlin Philharmonic (not counting the five extra harps for Götterdämmerung), plus the Rundfunkchor Berlin, three full-scale, technically demanding productions and a host of opera singers plus the Académie participants, all this stuffed into this large town in the south of France, arguably the most charming town in France if not on earth. And there still seems plenty of room for capacity audiences at this true European cultural crossroad.
This month-long festival, operating on a budget of 20,000,000 euros ($30,000,000), is amazing indeed.