23 Aug 2009
Wagner's Tannhaüser at the Festspielhaus Baden-Baden
Good directors don't always create good productions.
Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to explore the possibilities of unconventional spaces and unconventional programs that the company has made its hallmark. The results were musically and theatrically thought-provoking, and left me wanting more.
Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.
Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.
Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.
The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.
On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.
There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.
It has been a cold and gray winter in the south of France (where I live) made splendid by some really good opera, followed just now by splendid sunshine at Trafalgar Square and two exquisite productions at English National Opera.
At long last, Rise and Fall of the City of Mahagonny has come to the Royal Opera House. Kurt Weill’s teacher, Busoni, remains scandalously ignored, but a season which includes house firsts both of this opera and Szymanowsi’s King Roger, cannot be all bad.
RILM Abstracts of Music Literature is an international database for musicological and ethnomusicological research, providing abstracts and indexing for users all over the world. As such, RILM’s style guide (How to Write About Music: The RILM Manual of Style) differs fairly significantly from those of more generalized style guides such as MLA or APA.
Unsuk Chin’s Alice in Wonderland returned to the Barbican, London, shape-shifted like one of Alice’s adventures. The BBC Symphony Orchestra was assembled en masse, almost teetering off stage, creating a sense of tension. “Eat me, Drink me”. Was Lewis Carroll on hallucinogens or just good at channeling the crazy world of the subconscious?
Dominic Cooke’s 2005 staging of The Magic Flute and Richard Jones’s 1998 production of Hansel and Gretel have been brought together for Welsh National Opera’s spring tour under the unifying moniker, Spellbound.
Carolyn Sampson has long avoided the harsh glare of stardom but become a favourite singer for “those in the know” — and if you are not one of those it is about time you were.
Gaetano Donizetti and Malcolm Arnold might seem odd operatic bedfellows, but this double bill by the Guildhall School of Music and Drama offered a pair of works characterised by ‘madness, misunderstandings and mistaken identity’ which proved witty, sparkling and imaginatively realised.
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.
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]’.
An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.
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.
Good directors don't always create good productions.
Nikolaus Lehnhoff proved with his staging of Parsifal, preserved on DVD, that he can stay true to the core vision of a Wagner masterwork and yet bring new insights and a stark yet imaginative vision to the work. This Tannhaüser, filmed in 2008 in Baden-Baden, comes across as an over-designed, under-realized concept. Although the bonus feature of an hour-long documentary has a lot of talk - oh boy, does it ever - none of it really serves to make the production’s intents any clearer. The sets, the costumes, the lighting, are all spectacular. The viewer can admire all that effort and still feel unsatisfied, because the tone never becomes coherent. Does Lehnhoff see the opera as essentially silly? That nagging thought is the chief one his staging produced in your reviewer.
A huge spiral staircase/walkway dominates the set, the curve of which has a seductive, feminine shape. Waltraud Meier as Venus appears in the shadow of the curve, at first immobile in a huge hoop-skirt ballgown, and then stepping away from it in a more shapely black dress. The ballet almost never really works to suggest the erotic appeal of Venusberg, but Lehnhoff gets off to a very bad start here. In the choreography of Amir Hosseinpour and Jonathan Lunn, dancers in clunky, head-to-toe white leotards mime the wriggling movements of worms or maggots. It’s silly when not repellent. And the worms turn up again at the end, of course, to spoil one of the more successful scenes of the production.
With a full head of shaggy hair and looking a little like a 1980s’ Bono of the rock band U2, Robert Gambill enters. In a role known as a tenor-killer, Gambill offers a lot. He doesn’t seem to tire, and his enunciation of the text struck this non-German speaker as sharp. The core of Gambill’s voice is a husky, masculine sound, with an effective if strained top. He doesn’t really have either the vocal or personal charisma for a memorable assumption of the horny hero, but Gambill is about as good as we’ve got at this time.
Only a few months before this summer 2008 production, Gambill had been in the same opera with Camila Nylund as Elisabeth in San Diego, where your reviewer caught their performances. Nylund is a gorgeous woman, visually perfect as Elisabeth (but even more stunning when seen in street clothes in the aforementioned documentary). She can sing her role, as Gambill can sing his. It’s just the lack of any special color or imagination to her phrasing that keeps her assumption from affecting the audience as it should. At least she doesn’t have to endure the wig catastrophe that Meier does as Venus, with a weird fan-shaped hedge of hair across the top of her skull. Lehnhoff relies on Meier’s considerable dramatic reserves to put her characterization across, but he gives her very little to do. Even when outside the prison of that satin gown, Meier seems locked away.
In Wartburg things get very goofy. Most of the men wear gold lamé suits, while the chorus enters in black suits and helmets with short antlers, or are they insect antennae? When the song contest begins, the contestants stride onto a platform with a standing microphone, strutting and posturing like rock stars. Tom Fox as Biterolf really gets into it. But when Gambill’s Tannhaüser rushes up, shoves Fox off the stage and sings in praise of Venusberg, Lehnhoff’s interpretation makes him look like a spoiled, bratty jock. There’s no interest in his redemption from that point. If we still care about Nylund’s Elisabeth, that is due to the commendable efforts of Roman Trekel as Wolfram and Stephen Milling as Hermann, two first-class singers who manage to preserve their dignity amidst the silliness.
One of several hundred young conductors making their names known today, Philippe Jordan leads the Deutsches Symphonie-Orchester Berlin in a technically precise but soulless reading. He has more interesting things to say about the music in the documentary than can be heard in the actual performance.
The booklet does feature a very fine essay by Reiner E. Moritz, who covers the opera’s creation cogently and also finds ways of describing this production that make it sound better than it turns out to be. But where in the booklet essay is the credit for the wig stylist? The documentary interviews reveal that both Gambill and Trekel got the benefit of that artist’s best work. Meier, unfortunately, did not.
Finally, if a production goes for the non-traditional approach as this one does, then the subtitles shouldn’t be as fussy and outdated as those employed here. A lot of creative energy went into this production. In the end, it comes across as all design, no depth.