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

Christine Goerke - Strauss Elektra BBC Proms London

The second day of the Richard Strauss weekend at the BBC Proms saw Richard Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014 by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine Goerke in the title role. Felicity Palmer was Clytemnestra, Gun-Brit Barkmin was Chrysothemis, Robert Kunzli was Aegisthus and Johan Reuter was Orestes. The concert staging was by Justin Way.

Christine Goerke - Strauss Elektra BBC Proms London

The second day of the Richard Strauss weekend at the BBC Proms saw Richard Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014 by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine Goerke in the title role. Felicity Palmer was Clytemnestra, Gun-Brit Barkmin was Chrysothemis, Robert Kunzli was Aegisthus and Johan Reuter was Orestes. The concert staging was by Justin Way.

Powerful Mahler Symphony no 2 Harding, BBC Proms London

Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.

Nina Stemme's stunning Strauss Salome, BBC Proms London

The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings

Santa Fe Opera Presents Updated, at One Point Up-ended, Don Pasquale

On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!

Dolora Zajick Premieres Composition

At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.

Gluck: Orfeo ed Euridice

This elegant, smartly-paced film turns Gluck’s Orfeo into a Dostoevskian study of a guilt-wracked misanthrope, portrayed by American countertenor Bejun Mehta.

Aureliano in Palmira in Pesaro

Ossia Il barbiere di Siviglia. Why waste a good tune.

Britten War Requiem - Andris Nelsons, CBSO, BBC Prom 47

In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.

Il barbiere di Siviglia in Pesaro

Both by default and by merit Il barbiere di Siviglia is the hit of the thirty-fifth Rossini Opera Festival. But did anyone really want, and did the world really need yet another production of this old warhorse?

Armida in Pesaro

Armida (1817) is the third of Rossini’s nine operas for the Teatro San Carlo in Naples, all serious. The first was Elisabetta, regina di Inghilterra (1815), the second was Otello (1816), the last was Zelmira (1822).

Santa Fe Opera Presents an Imaginative Carmen

Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.

Elgar Sea Pictures : Alice Coote, Mark Elder Prom 31

Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.

Berio Sinfonia, Shostakovich, BBC Proms

Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.

Four countertenors : Handel Rinaldo Glyndebourne

Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.

Santa Fe Opera Presents The Impresario and Le Rossignol

On August 7, 2014, the Santa Fe Opera presented a double bill of Wolfgang Amadeus Mozart’s The Impresario and Igor Stravinsky’s Le Rossignol (The Nightingale). The Impresario deals with the casting of an opera and Le Rossignol tells the well-known fairy tale about the plain gray bird with an exquisite song.

Barber in the Beehive State

Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.

Stravinsky : Oedipus Rex, BBC Proms

In typical Proms fashion, BBC Prom 28 saw Stravinsky's Oedipus Rex performed in an eclectic programme which started with Beethoven's Egmont Overture and also featured Electric Preludes by the contemporary Australian composer Brett Dean. Sakari Oramo,was making the first of his Proms appearances this year, conducting the BBC Symphony Orchestra, BBC Singers and BBC Symphony Chorus.

Santa Fe Opera Presents a Passionate Fidelio

Santa Fe Opera presented Beethoven’s Fidelio for the first time in 2014. Since the sides of the opera house are open, the audience watched the sun redden the low hanging clouds and set below the Sangre de Cristo mountains while Chief Conductor Harry Bicket led the Santa Fe Opera Orchestra in the rousing overture. At the same time, Alex Penda as the title character readied herself for the ordeal to come as she endeavored to rescue her unjustly imprisoned husband.

Die Entführung aus dem Serail @ Hangar-7

We see the characters first in two boxes at an opera house. The five singers share a box and stare at the stage. But Konstanze’s eye is caught by a man in a box opposite: Bassa Selim (actor Tobias Moretti), who stares steadily at her and broods in voiceover at having lost her, his inspiration.

OPERA TODAY ARCHIVES »

Reviews

Mireille Delunsch as Elettra
19 Jul 2009

Mozart Mistreated at Aix-en-Provence Festival

At the festival of Aix-en-Provence, now in its sixty-first year, the final installment of Wagner’s “Ring,” with Simon Rattle and the Berlin Philharmonic, has hogged the spotlight.

W. A. Mozart: Idomeneo

Idomeneo: Richard Croft; Idamante: Yann Beuron; Ilia: Sophie Karthäuser; Elettra: Mireille Delunsch; Arbace: Xavier Mas; Gran sacerdote di Nettuno: Colin Balzer; La Voce: Luca Tittoto. Choeur Rundfunkchor Berlin / Choeur de la Radio de Berlin. Chef de coeur: Simon Halsey. Orchestre Musiciens du Louvre.Grenoble. Direction musicale: Marc Minkowski. Mise en scène et lumières: Olivier Py. Scénographie et costumes: Pierre André Weitz.

Above: Mireille Delunsch as Elettra

 

Nevertheless, Mozart has always been the core of the Festival repertory and the new production of “Idomeneo” did look good on paper. The opera has 6 performances, from July 4 through 17, in the traditional venue, the courtyard of the Archbishop’s palace in Aix.

Director Olivier Py has been heaped with praise for his work with Geneva’s opera for the past several years. Recently appointed to head the top Odéon–Théâtre de l’Europe in Paris (where the great Giorgio Strehler did much of his best work) he seemed a theater god who could do no wrong. This lumpy, limping production, however, suggests a serious case of clay feet.

First seen on stage are well-dressed African boat people (the Trojan prisoners in the libretto) who are menaced by AK-47 men in black for no particular reason. The story-telling did not improve later. Using massive amounts of structural steel, one critic commented that it was like Mozart meeting Gustav Eiffel. Actually, it was Eiffel who consistently demonstrated how light and graceful steel structures could be. Py’s “heavy metal” approach was oppressive to to the eye and garishly lit. The ungainly sections were on wheels and, during duets, couples were compelled to sing while ascend stairs and open doors of the twirling sections, all the while negotiating Mozartian rapids. The usually-cut ballet sequences (there was no choreographer credited in the program) had half-naked young men camping it up when they were not pretending to dismember each other and it reminding this writer of Madonna’s back-up dancers on tour.

Vocally, it is not promising when the singer with a real feel for the Mozartian style is the Arbace. Very impressive here, young Xavier Mas is clearly one to track. In the title role, tenor Richard Croft (Mozart’s 1789 tenor version was used) had often fine moments and his “Fuor del mar” was well received. Strain, however, was always apparent when the music went “forte” and beyond. French tenor Yann Beuron, as Idamante, has had his voice fill out and thicken these past years and, while still lovely, it no longer has easily agility. The talented Belgian soprano Sophie Karthäuser impressed as Ilia but, as with the decor, less steel would have been better.

When the grand Mireille Delunsch first descended the staircase as Elettra there was an electricity in her voice that demanded attention. But, reaching stage level and directorial requirements — silent-screen gesticulations that would have embarrassed Theda Bara — all hope of a definitive character disappeared. Later, during her final scene, there actually was a bucket of blood and she went ahead with the sponge bath, putting to rest the French idea of “du trop.” The Neptune — almost always on stage waiving his trident — was wearing what appeared to be a bargain Halloween costume from Woolworths.

07-02Id582.gifA scene from Idomeneo [Photo by E. Carrechio courtesy of Festival d'Aix-en-Provence

The singing, while not up to highest festival standards, served the music and Marc Minkowski and his Musiciens du Louvre-Grenoble contributed a strong orchestral underpinning with their traditional gusto. A few orchestral sour notes could be attributed to the changing humidity as night falls — a traditional problem with outdoor concerts. This opera of the 25 year-old composer has been receiving much attention in recent years with, as only one example, a fine new production of Luc Bondy at the Paris Opera. The Aix production, broadcast throughout Europe on the night I saw it, July 10, is not likely to induce a flood of ticket request for next season. This is an extraordinary opera and a cumbersome staging does not show the music to best advantage.

Frank Cadenhead

This article first appeared in La Scena Musicale. It is reprinted with the permission of the author.

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):