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?
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw Orchestra’s season with a slightly uneven performance of Mahler’s Resurrection Symphony. With four planned, this staple repertoire for the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful production. With magnificent voices, Andreas Schager and Dorothea Röschmann rescued Michael Thalheimer’s grotesque staging of von Weber’s Der Freischütz. At Staatsoper Unter den Linden, Alexander Soddy led a richly detailed, transparent and brilliantly glowing Berliner Staatskapelle.
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an intriguing American double bill of rarities. An experience that was well worth the trip to this desolate ghost town, remnant of industrial West Germany.
Paris Opera seems to posit the question: Does anyone completely understand what Karol Szymanowski’s King Roger is about?
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.