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

Anna Netrebko, now a dramatic soprano, shines in the Met’s dark and murky ‘Macbeth’

The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission

Arizona Opera Presents First Mariachi Opera

Houston Grand Opera commissioned Cruzar la Cara de la Luna from composer José “Pepe” Martínez, music director of Mariachi Vargas de Tecalitlán, who wrote the text together with Broadway and opera director Leonard Foglia. The work had its world premier in 2010. Since then, it has traveled to several cities including Paris, Chicago, and San Diego.

Plácido Domingo: I due Foscari, London

“Why should I go to hear Plácido Domingo” someone said when Verdi’s I due Foscari was announced by the Royal Opera House. There are very good reasons for doing so.

Philip Glass’s The Trial

Music Theatre Wales presented the world premiere of Philip Glass’s The Trial (Kafka) last night at the Linbury, Royal Opera House. Music Theatre Wales started doing Glass in 1989. Their production of Glass’s In the Penal Colony in 2010 was such a success that Glass conceived The Trial specially for the company.

Joyce DiDonato: Alcina, Barbican, London

To say that the English Concert’s performance of Handel’s Alcina at the Barbican on 10 October 2014 was hotly anticipated would be an understatement. Sold out for weeks, the performance capitalised on the draw of its two principals Joyce DiDonato and Alice Coote and generated the sort of buzz which the work did at its premiere.

Un ballo in maschera in San Francisco

The subject is regicide, a hot topic during the Italian risorgimento when the Italian peninsula was in the grip of the Hapsburgs, the Bourbons, the House of Savoy and the Pontiff of the Catholic Church.

A New Don Giovanni and Anniversary at Lyric Opera of Chicago

Lyric Opera of Chicago opened its sixtieth anniversary season with a new production of Mozart’s Don Giovanni directed by Artistic Director of the Goodman Theater, Robert Falls.

Grande messe des morts, LSO

It was a little over two years ago that I heard Sir Colin Davis conduct the Berlioz Requiem in St Paul’s Cathedral; it was the last time I heard — or indeed saw — him conduct his beloved and loving London Symphony Orchestra.

Guillaume Tell, Welsh National Opera

Part of their Liberty or Death season along with Rossini’s Mose in Egitto and Bizet’s Carmen, Welsh National Opera performed David Pountney’s new production of Rossini’s Guillaume Tell (seen 4 October 2014).

Mose in Egitto, Welsh National Opera

Welsh National Opera’s production of Rossini’s Mose in Egitto was the second of two Rossini operas (the other is Guillaume Tell) performed in tandem for their autumn tour.

L’incoronazione di Poppea, Barbican Hall

In Monteverdi’s first Venetian opera, Il Ritorno d’Ulisse (1641), Penelope’s patient devotion as she waits for the return of her beloved Ulysses culminates in the triumph of love and faithfulness; in contrast, in L’incoronazione di Poppea it is the eponymous Queen’s lust, passion and ambition that prevail.

Rameau’s Les Paladins, Wigmore Hall

After the triumphs of love, the surprises: Les Paladins, under their director Jérôme Correas, and soprano Sandrine Piau are following their tour of material from their 2011 CD, ‘Le Triomphe de L’amour’, with a new amatory arrangement.

Puccini : The Girl of the Golden West, ENO London

At the ENO, Puccini's La fanciulla del West becomes The Girl of the Golden West. Hearing this opera in English instead of Italian has its advantages, While we can still hear the exotic, Italianate Madama Butterfly fantasies in the orchestra, in English, we're closer to the original pot-boiler melodrama. Madama Biutterfly is premier cru: The Girl of the Golden West veers closer, at times, to hokum. The new ENO production gets round the implausibility of the plot by engaging with its natural innocence.

Anna Caterina Antonacci, Wigmore Hall, London

Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.

Il barbiere di Siviglia, Royal Opera

Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.

Gluck and Bertoni at Bampton

Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.

Purcell: A Retrospective

Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.

Mahler: Symphony no.3 — Prom 73

It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’

Los Angeles Opera Opens with La traviata

On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.

Stars of Lyric Opera at Millennium Park, 2014

In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.

OPERA TODAY ARCHIVES »

Reviews

Scene from Lohengrin [Photo by W. Hösl courtesy of Bayerische Staatsoper]
20 Jul 2009

Munich's Re-constructed Lohengrin

Were someone looking to assemble a musical Dream Team to thrill us to the core with Wagner’s Lohengrin, one would need look no further than the assembled forces currently on stage at Munich's Bavarian State Opera.

Richard Wagner: Lohengrin

Heinrich der Vogler: Christof Fischesser; Lohengrin: Jonas Kaufmann; Elsa von Brabant: Anja Harteros; Friedrich von Telramund: Wolfgang Koch; Ortrud: Michaela Schuster; Heerrufer des Königs: Evgeny Nikitin; Edler 1 / Brabantischer Edle: Francesco Petrozzi; Edler 2 / Brabantischer Edle: Kenneth Roberson; Edler 3 / Brabantischer Edle: Christopher Magiera; Edler 4 / Brabantischer Edle: Igor Bakan; 4 Edelknaben: Tölzer Knabenchor. Bayerisches Staatsorchester. Chor der Bayerischen Staatsoper. Musikalische Leitung: Kent Nagano. Inszenierung: Richard Jones. Bühne und Kostüme: Ultz; Licht: Mimi Jordan Sherin. Chöre: Andrés Máspero.

Above: Scene from Lohengrin

All photos by W. Hösl courtesy of Bayerische Staatsoper

 

Interest was extremely high, of course, in local boy Jonas Kaufmann’s first take on the title role. We were amply rewarded. For Mr. Kaufmann has it all, the mettle and the metal, starting with a robust, baritonal timbre in mid and low-range that loses none of its buzz as he ascends above the staff. His sound technique and focused tone allow him to not only ride the full orchestra as required, but also to scale back to intense, melting piano singing that lovingly caresses the more tender and introspective moments. If In fernem Land had been any more hushed or unearthly beautiful, my heart would likely have stopped. Magnificent.

Add to this, the fact that Jonas is strappingly handsome, eminently stage-wise, and always engaged with his colleagues, and you begin to know that this is a major star in a major step forward in his career (although maybe he should resist doing the part in a house larger than the Staatsoper until he sees how it wears on him). You can also understand why savvy record promoters would perch him atop a mist shrouded summit, Caspar-David-Friedrich-like on the cover photo of his new CD release and declare him “Germany’s most beautiful voice.” The partisan Munich crowd who loudly celebrated his achievement would have agreed.

But they might have argued that German soprano Anja Harteros could also be a worthy target of that encomium. I had greatly admired her Elisabetta in the Oslo Don Carlo but as wonderful as that was, her Elsa could be rightly called ‘definitive.’ Ms. Harteros has a creamy sound production of some gravity that serves her well in all registers. As she flawlessly negotiated every demand of this rangy part, I was reminded of a singer friend who once assessed a performance of Kiri Te Kanawa with mock jealousy, saying “Damn, make a mistake girl!”

But this our soprano did not do, regaling us with a text-book display of impassioned, controlled, varied, yet always lyrical Wagnerian styling. It was interesting too that her voice had been so Italianate in the Verdi, yet here was sometimes deployed with straighter tone, in more conversational delivery. She also looked beautiful, and was a vibrant stage creature that perfectly complemented her leading man. This pairing of Kaufmann and Harteros will likely be celebrated by aficionados for a long time to come.

But although the duo set the bar very high indeed, the rest of the cast was up to challenge. Wolfgang Koch beautifully sang the role of Telramund with an incisive baritone, making music of the many outbursts that most usually shout. Michaela Schuster blazed through Ortrud with relish and imposing vocalism. If her securely hurled upper phrases occasionally tended toward stridency, it perfectly suited this character, and contrasted well with the pristine Elsa. As usual, Christoff Fischesser was reliably solid as the King, and in what is rather a throw-away role, Evgeny Nikitin was a surprising treat with his well-sung Herald.

Lohengrin_Munich_2009_01.gif

To say that the orchestra had the finest night I have yet heard from this talented band is a credit to the consummate leadership of conductor Kent Nagano. It is hard to believe that this was my first “live” encounter with the maestro, but it will not be my last. Mr. Nagano led a seamless reading, eliciting spot-on ensemble attaci from all the banks of instruments (especially in those difficult expansive unfolding preludes). The brass were in fine form — nay thrilling form — and the strings just glowed as they poured out arching phrase after arching phrase. The maestro’s attention to detail highlighted several voicings and solos that were absolutely fresh and pleasing to discover.

It was curious that, having snuck onto the podium for Acts One and Two, negating audience “entrance” applause, Mr. Nagano threw that to the winds for a triumphal march into the pit at the start of Three. If he was, as I suspect, approximating the Bayreuth experience (where we don’t see the conductor until the call), why not be consistent? But that is minor, extra-musical carping. The orchestra under Kent Nagano (and chorus, directed by Andrés Máspero) were world-class, festival-class, you-name-it-class … they were of the highest class.

As for the direction by Richard Jones and the physical production, I find there is much good to be said. Mr. Jones took as his central “Konzept” an idea that Elsa aspires to be a proponent of ideals for the “construction” of a new order as the country was perched on the verge of civil war. Mr. Jones realized his metaphor as a literal “construction” of (what turns out to be) Elsa’s and Lohengrin’s Wedding House. (It must be said the stage management and running crew did remarkably fine work all night long.)

Lohengrin_Munich_2009_02.gif

Whatever one might think of the process of watching this house (aka new social order) get actually built over the course of the opera, or of having Elsa in work clothes laying bricks, this was a hugely impressive set design from Ultz, who also contributed the effective costumes. By the end of Act Two, a complete two-story chalet with balcony has been constructed and a turntable spins it around for us to admire.

And then … even as it spun … the vociferous catcalls began. (Oh, dear, and a whole act to go!) I can appreciate that the visual embodiment of the “construction” may have been heavy handed, and that some may have wished for a design more akin to a period Belgian tapestry (and perhaps Lauritz Melchior back to sing in it), but really, I found that this was a handsome, very polished design that was considerate and consistent.

Moreover, it was beautifully lit by Mimi Jordan Sherin, who took advantage of its natural color to unleash a full palette of evocative lighting effects on it, abetted by videographer Silke Holzach. Only the projection of the rising horizontal green and black lines (like an old TV test pattern) was of perplexing intent.

Director Jones was a master of clarity and focus. All the while the stage was peopled with extras building the house, we were never distracted, and the characters always interacted meaningfully. Among the beautiful touches was having Lohengrin arrive bearing the swan as if being led by it. And having him carry a baby crib to the wedding house’s upstairs room, only later to put it on the bed and torch it, after Elsa’s betrayal (shades of Waco!).

Lohengrin_Munich_2009_04.gif

In fact, cultism seemed to be more the new order than any ideal of Elsa’s. At the start, the citizens were dressed in stylized blazers and faux folk dress, with the men’s hair swept up and out like an old hood ornament on a Chrysler. Very Flemish kitsch-inspired. Then Lohengrin arrived in a modern pale blue tee shirt and jogging pants with a silver stripe. In a visual irony, the citizenry became converts to Lohengrin/Elsa and donned blue tees, while the love couple got wed in rather traditional folk dress. As Ortrud offed herself and the chorus followed suit, there were echoes of Jonestown, underscoring the occasional peril of following charismatic leaders. This was richly complicated imagery and it not only complemented Wagner, but really it represented his intent.

Did everything work? No. The goofy duel between Lohengrin and Telramund looked like un-coordinated pre-pubescent boys flailing Star Wars light sabers. And the moment misfired when Telramund rushed in to murder the hero, with Elsa standing on the wedding bed and brandishing a sword, and Telramund falling dead without having come anywhere near the lethal weapon. Spatially, it made no visual sense.

Still, at the end of the day, this Lohengrin was always interesting, if occasionally flawed work from a very talented production team, well served by a cast and orchestra who were utter perfection. And isn’t that ample cause for rejoicing?

James Sohre

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):