Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

LA Opera: Barber of Seville

Saturday, February 28, 2015, was the first night for Los Angeles Opera’s revival of its 2009 presentation of The Barber of Seville, a production by Emilio Sagi, which comes originally from Teatro Real in Madrid in cooperation with Lisbon’s Teatro San Carlos. Sagi and onsite director, Trevor Ross, made comedy the focus of their production and provided myriad sight gags which kept the audience laughing.

Marie-Nicole Lemieux, Wigmore Hall

Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me … I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.

Eine florentinische Tragödie and I pagliacci in Monte-Carlo

An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.

Carmen, Pacific Symphony

On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.

The Mastersingers of Nuremberg, ENO

Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.

San Diego Opera presents an excellent Don Giovanni

On Friday February 20, 2015, San Diego Opera presented Mozart’s Don Giovanni in a production by Nicholas Muni originally seen at Cincinnati Opera.

Tosca at Chicago Lyric

In a production first seen in Houston several years ago, and now revised by its director John Caird, Puccini’s Tosca has returned to Lyric Opera of Chicago with two casts, partially different, scheduled into March of the present season.

Henri Dutilleux: Correspondances

Henri Dutilleux’s music has its devotees. I am yet to join their ranks, but had no reason to think this was not an admirable performance of his song-cycle Correspondances.

LA Opera Revives The Ghosts of Versailles

In 1980, the Metropolitan Opera commissioned composer John Corigliano to write an opera celebrating the company’s one-hundredth anniversary. It was to be ready in 1983.

La Traviata, ENO

English National Opera’s revival of Peter Konwitschny’s production of Verdi’s La Traviata had many elements in common with the production’s original outing in 2013 (The production was a co-production with Opera Graz, where it had debuted in 2011).

Idomeneo in Lyon

You might believe you could go to an opera and take in what you see at face value. But if you did that just now in Lyon you would have had no idea what was going on.

Der fliegende Holländer, Royal Opera

I wonder whether we need a new way of thinking — and talking — about operatic ‘revivals’. Perhaps the term is more meaningful when it comes to works that have been dead and buried for years, before being rediscovered by subsequent generations.

Iphigénie en Tauride in Geneva

Hopefully this brilliant new production of Iphigénie en Tauride from the Grand Théâtre de Genève will find its way to the new world now that Gluck’s masterpiece has been introduced to American audiences.

Tristan et Isolde in Toulouse

Tristan first appeared on the stage of the Théâtre du Capitole in 1928, sung in French, the same language that served its 1942 production even with Wehrmacht tanks parked in front of the opera house.

Arizona Opera presents Tchaikovsky’s Eugene Onegin

Arizona Opera presented Eugene Onegin during and 1999-2000 season and again on February 1 of this year as part of the 2014-2015 season. In this country Onegin is not a crowd pleaser like La Bohème or Carmen, but its story is believable and its music melodic and memorable. Just hum the beginning of the “Polonaise” and your friends will know the music, if not where it comes from.

Ernst Krenek: Reisebuch aus den österreichischen Alpen, Florian Boesch, Wigmore Hall

Florian Boesch and Roger Vignoles at the Wigmore Hall in Ernst Krenek’s Reisebuch aus den österreichischen Alpen. Matthias Goerne has called Hanns Eisler’s Hollywooder Liederbuch the Winterreise of the 20th century. Boesch and Vignoles showed how Krenek’s Reisebuch is a journey of discovery into identity at an era of extreme social change. It is a parable, indeed, of modern times.

Anna Bolena at Lyric Opera of Chicago

Lyric Opera of Chicago’s new Anna Bolena, a production shared with Minnesota Opera, features a distinguished cast including several notable premieres.

San Diego Celebrates 50th Year with La Bohème

On Tuesday January 27, 2015, San Diego Opera presented Giacomo Puccini's La Boheme. It is the opera with which the company opened in 1965 and a work that the company has faithfully performed every five years since then.

English Pocket Opera Company: Verdi’s Macbeth

Last year we tracked Orfeo on his desperate search for his lost Euridice, through the labyrinths and studio spaces of Central St Martin’s; this year we were plunged into Macbeth’s tragic pursuit of power in the bare blackness of the CSM’s Platform Theatre.

Béla Bartók: Duke Bluebeard’s Castle

Béla Bartók’s only opera, Duke Bluebeard’s Castle, composed in 1911 and based upon a libretto by the Hungarian writer Béla Balázs, was not initially a success.

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):