Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.







Recently in Reviews

Daniel Kramer's new La traviata at English National Opera

Verdi's La traviata is one of those opera which every opera company needs to have in its repertoire, and productions need to balance intelligent exploration of the issues raised by the work with the need to reach as wide an audience as possible with an opera which is likely to attract audience members who are not regular opera-goers.

Haydn's Applausus: The Mozartists at Cadogan Hall

Continuing their MOZART 250 series, The Mozartists/ Classical Opera began dipping into the operatic offerings of 1768 at Wigmore Hall in January, when they presented numbers from Mozart’s La finta semplice, Jommelli’s Fetonte, Hasse’s Pirano e Tisbe and Haydn’s Lo speziale.

Schubert Schwanengesang revisited—Florian Boesch, Wigmore Hall

Schwanengesang isn't Schubert's Swan Song any more than it is a cycle like Die schöne Müllerin or Winterreise. The title was given it by his publishers Haslingers, after his death, combining settings of two very different poets, Ludwig Rellstab and Heinrich Heine. Wigmore Hall audiences have heard lots of good Schwanengesangs, including Boesch and Martineau performances in the past, but this was something special.

Rinaldo: The English Concert at the Barbican Hall

“After such cruel events, I don’t know if I am dreaming or awake.” So says Almirena, daughter of the Crusader Goffredo, when she is rescued by her beloved warrior-hero, Rinaldo, from the clutches of the evil sorceress, Armida.

Hamlet abridged and enriched in Amsterdam

French grand opera and small opera companies are an unlikely combination. Yet OPERA2DAY, a company of modest means, is currently touring the Netherlands with Hamlet by Ambroise Thomas.

The ROH's first production of From the House of the Dead

Krzysztof Warlikowski’s production for the ROH of From the House of the Dead is ‘new’ in several regards. It’s (astonishingly) the first time that Janáček’s last opera has been staged at Covent Garden; it’s Warlikowski’s debut at Covent Garden; and the production uses a new 2017 critical edition prepared by John Tyrrell.

Così fan tutte at Lyric Opera of Chicago

With artifice, disguise, and questions on fidelity as the basis of Mozart’s Così fan tutte, the composer’s mature opera has returned to the stage at Lyric Opera of Chicago.

WNO's Wheel of Destiny rolls into Birmingham

Welsh National Opera’s wheel of destiny has rolled into Birmingham this week, with Verdi’s sprawling tragedy, La forza del destino, opening the company’s ‘Rabble Rousing’ triptych at the Hippodrome.

A Midsummer Night's Dream at the Royal College of Music

The gossamer web of Shakespeare’s A Midsummer Night’s Dream is sufficiently insubstantial and ambiguous to embrace multiple interpretative readings: the play can be a charming comic caper, a jangling journey through human pettiness and cruelty, a moonlit fairy fantasy or a shadowy erotic nightmare, and much more besides.

Les Funérailles Royales de Louis XIV recreated at Versailles

Les Funérailles Royales de Louis XIV, with Ensemble Pygmalion, conducted by Raphaël Pichon now on DVD/Blu -ray from Harmonia Mundi. This captures the historic performance at the Chapelle Royale de Versailles in November 2015, on the 300th anniversary of the King's death.

Robert Carsen's A Midsummer Night's Dream returns to ENO

Having given us Christopher Alden's strangely dystopic production of Britten's A Midsummer Night's Dream in 2011, English National Opera (ENO) has opted for Robert Carsen's bed-inspired vision for the latest revival of the opera at the London Coliseum.

Turandot in San Diego—Prima la voce

The big musical set pieces in Turandot require voice, voice, and more voice, and San Diego Opera has gifted us with a world-class cast of singing actors.

Dialogues de Carmélites at the Guildhall School: spiritual transcendence and transfiguration

Four years have passed since my last Dialogues des Carmélites, and on that occasion - Robert Carsen’s production for the ROH - heightened dramatic intensity, revolutionary insurrection (enhanced by an oppressed populace formed by a 67-strong Community Ensemble) and, under the baton of Simon Rattle, luxuriant musical rapture, were the order of the day.

'B & B’ in a new key

Seattle Opera’s new production of Béatrice et Bénédict is best regarded as a noble experiment, performed expressly to see if Berlioz’ delectable 1862 opéra comique can successfully be brought into the living repertory outside its native France. As such, it is quite a success.

Songs for Nancy: Bampton Classical Opera celebrate legendary soprano, Nancy Storace

Bampton Classical Opera’s 25th anniversary season opens with a concert on 7th March at St John’s Smith Square to celebrate the legendary soprano Nancy Storace.

Tenebræ Responsories
recording by Stile Antico

Tomas Luis de Victoria’s Tenebrae Responsories are designed to occupy the final three days of Holy Week, and contemplate the themes of loss, betrayal and death that dominate the Easter week. As such, the Responsories demand a sense of darkness, reflection and depth that this new recording by Stile Antico - at least partially - captures.

Mahler Symphony no 9, Daniel Harding SRSO

Mahler Symphony no 9 in D major, with Daniel Harding conducting the Swedish Radio Symphony Orchestra, new from Harmonia Mundi. A rewarding performance on many levels, not least because it's thoughtfully sculpted, connecting structure to meaning.

A newly discovered song by Alma Mahler

It is well known that in addition to the fourteen songs by Alma Mahler published in her lifetime, several dozen more - perhaps as many as one hundred - were written and have been lost or destroyed.

Of Animals and Insects: a musical menagerie at Wigmore Hall

Wigmore Hall was transformed into a musical menagerie earlier this week, when bass-baritone Ashley Riches, a Radio 3 New Generation Artist, and pianist Joseph Middleton took us on a pan-European lunchtime stroll through a gallery of birds and beasts, blooms and bugs.

Hugo Wolf, Italienisches Liederbuch

Nationality is a complicated thing at the best of times. (At the worst of times: well, none of us needs reminding about that.) What, if anything, might it mean for Hugo Wolf’s Italian Songbook? Almost whatever you want it to mean, or not to mean.



Karol Szymanowski
02 Aug 2009

Paris: King Roger Goes Hollywood

Paris Opera seems to posit the question: Does anyone completely understand what Karol Szymanowski’s King Roger is about?

Karol Szymanowski: Król Roger (King Roger)

King Roger II: Mariusz Kwiecien (les 18, 20, 23, 28 juin et 2 juillet) / Scott Hendricks (les 25 et 30 juin); Roxana: Olga Pasichnyk / Margarita de Arellano (25 juin); Edrisi: Stefan Margita; The Shepherd: Eric Cutler; The Archbishop: Wojtek Smilek: An Abbess: Jadwiga Rappe. Opéra national de Paris Orchestra and Chorus.Conductor: Kazushi Ono. Stage director: Krzysztof Warlikowski. Sets and costumes: Malgorzata Szczesniak. Video: Denis Guéguin. Choreography: Saar Magal. Lighting: Felice Ross.

Above: Karol Szymanowski


And really, given the splendid musical effects, does anyone care?

This knotty dramatic piece with a loosely wandering libretto by Jaroslaw Iwaszkiewicz, has largely languished on the sidelines of world stages until very recent years. I recall a very credible mounting in Amsterdam only a few years ago, in which the producers honored the rather mythical, metaphorical and medieval tone of the text, with settings and costumes that seemed grounded in the milieu of 12th-century Christian King Roger II of Sicily, who is enlightened by a mysterious young shepherd as the embodiment of pagan ideals.

Not surprisingly, the innovative (some would say ‘willfully provocative’) Paris Opera was having none of that, and the famous (some would say ‘infamous’) stage director Krzysztof Warlikowski, abetted by set and costume designer Malgorzata Szczesniak set the diffuse action in the world of Hollywood (or any-other-’wood) glitterati.

At rise we see what seems to be a large, empty swimming pool, with a dead woman’s body floating in the down right corner (we are able to view the corpse thanks to a Plexiglas wall on the deep end). Shades of Sunset Boulevard!

But it is not Norma Desmond who appears poolside but rather a scantily clad King Roger II and Roxana, as bored rich people killing time in their respective chaises. The garrulous archbishop here is a kvetching man-servant. The chorus, in spangled and twinkling evening wear, become complacent revelers at a de rigueur entertainment industry social event. And the pagan Shepherd (in quite a brilliant invention) is a gender challenged street person.

The dueling forces on display do not seem so much “Christian versus Profane,” but the “Have’s” contrasted with the “Have Not’s”. For our hero does not seem to start out worshiping Christ so much as Mammon. The duo of Warlikowski and Szcsesniak have succeeded quite spectacularly here by injecting vivid theatrical life into what could have been a thudding, pretentious oratorio. The fine character work served to create flesh and blood creatures out of the writers’ fuzzy symbolic figures.

Felice Ross’s wonderfully detailed gobos and lighting effects contributed mightily in isolating images, and suggesting a supernatural effect that informs the proceedings throughout the night. Denis Guéguin devised stage-filling video effects that somehow managed to illuminate the dramatic moments without overpowering the actors. As the chorus members (excellently tutored by Winfried Maczewski) posed snootily behind a scrim, the use of a hand held video-cam that traced the torsos and projected the choristers on a huge screen, ‘up close and personal’ from toe to crown was a clever invention.

Warlikowski carries the arching metaphor of the initially near-naked Roger who dons the trappings — and consequences — of fame to a natural conclusion, as he has the protagonist once again shucking his tuxedo and material encumbrances in time for the closing introspective musings. The King’s final paean to the rising sun is heartbreaking as a denuded Roger hallucinates even as the body of Roxana floats in the pool behind him, an eerie directorial invention that evokes the drug- and booze- prompted tragedy of many such a Hollywood gathering.

Only the final entrance of the Shepherd is grossly miscalculated, dressed as he is in a Minnie Mouse head and accessories, and joined by a small band of similarly got-up children whom he proceeds to lead in morning calisthenics. (No, I am not making this up.) Whether meant to be a goof on Euro Disney or popular culture, it misfires badly and takes us totally out of the otherwise stunning conclusion.

If you are going to spend almost one third of an opera looking at an unclothed baritone, you really can’t do better than the buff and handsome Mariusz Kwiecien. And he sings, too! Mr. Kwiecien is a known commodity at all the major houses (opera-, that is, not bath-), and he deserves the solid reputation he has built. The voice is warm, secure, and rings out in the large Bastille hall. Sometimes, perhaps a bit too much.

Since my first encounter with this world-class baritone was at a beautiful recital of Polish songs in an intimate hall in Warsaw, I was wowed not only by his command of the dramatic content of the text, but also by the fine gradations of interpretative effects. In the opera house, Mariusz is no less engaging, but his vocalizing at times seems more geared to producing quantities of booming sound. His artistry is always in evidence, to be sure, and his more hushed phrases were always intense, present, and affecting; but I thought that his winning performance might have benefited even more by occasionally moderating his volume at full throttle.

He was well-partnered by the supremely musical Roxana from Olga Pasichnyk. This is a fairly soft-grained voice for the role (think Cotrubas at her finest), and there were full orchestral phrases when I longed for more heft or point in the sound (maybe our baritone could loan her some!). But the public loves this artist and for good reason. She commands the stage, gives 100%, and, especially at the upper end of her instrument, pours out melting, limpid, silvery phrase after silvery phrase.

Even in this splendid top-tier company, the star turn of the night was indisputably that of Eric Cutler’s superbly sung Shepherd. Not only is this a substantial lyric tenor that ‘speaks’ throughout the range thanks to a secure technique and somewhat bright focus, but the voice is also capable of carrying out dramatic intentions with meaningful deployment of a good variety of colors.

Add to that his imposing presence and his willingness to collaborate with the (okay, slightly wacko) director, Cutler forges a believable yet fey characterization that is part Dr. Frankenfurter and part Liza-on-a-bender (dig the nail polish). One of the season’s truly memorable performances. Rounding out the exceptional cast, Stefan Margita was the solid-voiced Edrisi, and Wojtek Smilek’s Archbishop made a substantial and favorable impression.

Overseeing the proceedings from the podium, conductor Kazushi Ono paced his cast and orchestra with fine results. This haunting, melodic score with its oriental influences, has hints of Scriabin and Strauss, but asserts its own identity and stakes a claim as a masterpiece. What the libretto may lack in cogency and interest is more than compensated by the heartfelt, brilliantly scored music. Maestro Ono seemed to revel in each and every orchestral detail and effect, and he drew as fine a performance from his instrumentalists as I have heard from the Paris pit.

Musical excellence, coupled with a challenging mise en scène and a cast that was certainly up to that challenge, King Roger proved a fitting, high quality, love-it-or-hate-it-you-can’t-look-away-from-it finale to the Mortier regime. The King is dead. Long live the King.

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):