Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Poliuto, Glyndebourne

Donizetti’s Poliuto at Glyndebourne could well become one of of the great Glyndebourne classics.

Carmen by ENO

Dystopic vision of Carmen, brought to life by vibrantly gripping performances

Pacific Opera Project Presents Ariadne auf Naxos

Pacific Opera Project, a small Los Angeles company, presented a production of Richard Strauss's Ariadne auf Naxos at the Ebell Club with an excellent group of young singers at the beginning of what should be good careers.

Varispeed pushes the possibilities of opera forward with Robert Ashley’s Crash

Six people, dressed in ordinary clothing, sitting in a row at desks adorned only with microphones and glasses of water, and talking for ninety minutes: is it opera?

Rising Stars in Concert, Lyric Opera of Chicago

The spring concert of Rising Stars in Concert, sponsored by and featuring current members of the Patrick G. and Shirley W. Ryan Opera Center at Lyric Opera of Chicago, showcased a number of talents that will no doubt continue to grace the stages of the world’s operatic theaters.

The Singers Sparkle in New York Opera Exchange’s Carmen

New York Opera Exchange’s production of Carmen from May 8th to 10th highlighted that which opera devotees have been saying for years: Opera, far from being dead, is vibrant and evolving.

‘Where’er You Walk’: Handel’s Favourite Tenor

I have sometimes lamented the preference of Ian Page’s Classical Opera for concert performances and recordings over staged productions, albeit that their renditions of eighteenth-century operas and vocal works are unfailingly stylish, illuminating and supported by worthy research.

The Pirates of Penzance, ENO

Topsy Turvy, Mike Leigh’s 1999 film starring Timothy Spall and Jim Broadbent, dramatized the fraught working relationship of William Gilbert and Arthur Sullivan; it won four Oscar nominations (garnering two Academy Awards, for costume and make-up) and is a wonderful exploration of the creative process of bringing a theatrical work to life.

Manitoba Opera: Turandot

There’s little doubt that Puccini’s Turandot is a flawed, illogical fairytale. Yet it continues to resonate today with its undying “love shall conquer all” ethos, where even the most heinous crimes may be forgiven by that which makes the world go ‘round.

Mariachi Opera El Pasado Nunca se Termina Comes to San Diego

On April 25, 2015, San Diego Opera presented it’s second Mariachi opera: El Pasado Nunca se Termina (The Past is Never Finished) by Jose “Pepe” Martinez, Leonard Foglia and Mariachi Vargas de Tecalitlán.

Antonio Pappano: Royal Opera House Orchestral Concerts

Ambition achieved! Antonio Pappano brought the Orchestra of the Royal Opera House out of the pit and onto the stage, the centre of attention in their own right.

Bedřich Smetana: Dalibor, Barbican Hall

Jiří Bělohlávek’s annual Czech opera series at the Barbican, London, with the BBC SO continued with Bedřich Smetana’s Dalibor.

Orlando Explores Art Without Boundaries

R.B. Schlather’s production of Handel’s Orlando asks the enigmatic question: Where do the boundaries of performance art begin, and where do they end?

The Virtues of Things

A good number of recent shorter operas, particularly those performed in this country, made a stronger impression with their libretti than their scores.

Król Roger, Royal Opera

It has taken almost 89 years for Karol Szymanowski’s Król Roger to reach the stage of Covent Garden.

San Diego Opera Celebrates 50 Years of Great Singing

San Diego Opera, the company that General Manager Ian Campbell had scheduled for demolition, proved that it is alive and singing as beautifully as ever. Its 2015 season was cut back slightly and management has become a bit leaner, but the company celebrated its fiftieth season in fine style with a concert that included many of the greatest arias ever written.

Hercules vs Vampires: Film Becomes Opera!

In the early sixties, Italian film director Mario Bava was making pictures with male body builders whose well oiled physiques appeared spectacular on the screen.

Green: Mélodies françaises sur des poèmes de Verlaine

Philippe Jaroussky lends poetry and poise to the sounds of nineteenth- and twentieth-century France

J. C. Bach: Adriano in Siria

At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme each season during the next 27 years to exploring the music by Mozart and his contemporaries which was being written and performed exactly 250 years previously.

Bethan Langford, Wigmore Hall

The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.

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):