23 Aug 2009
Wagner's Tannhaüser at the Festspielhaus Baden-Baden
Good directors don't always create good productions.
Verdi Un ballo in maschera at the Royal Opera House - a masked ball in every sense, where nothing is quite what it seems. On the surface, this new production appears quaint and undemanding. It uses painted flats, for example, pulled back and forth across, as in toy theatre. The scenes painted on them are vaguely generic, depicting neither Boston nor Stockholm, where the tale supposedly takes place. Instead, we focus on Verdi, and on theatre practices of the past. In other words, opera as the art of illusion, not an attempt to replicate reality. Take this production too literally and you'll miss the wit and intelligence behind it.
Small country, small opera house — big ensemble spirit. Internationally acclaimed soprano Natalia Ushakova steps in for indisposed local Violetta with mixed results.
Bulgarian director Vera Nemirova’s production of Otello for the Romanian National Opera in Bucharest was certainly full of new ideas — unfortunately all bad.
For its current revival of the 2006-2007 production of Giuseppe Verdi’s Il trovatore by Sir David McVicar Lyric Opera has assembled a talented quintet of principal singers whose strengths match this conception of the opera.
This Winterreise is the final instalment of Matthias Goerne’s series of Schubert lieder for Harmonia Mundi and it brings the Matthias Goerne Schubert Edition, begun in 2008, to a dark, harrowing close.
O Maria Deo grata — ‘O Mary, pleasing to God’: so begins Robert Fayrfax’s antiphon, one of several supplications to the Virgin Mary presented in this thought-provoking concert by The Cardinall’s Musick at the Wigmore Hall.
Wagner’s Tristan und Isolde at the Royal Opera House, first revival of the 2009 production, one of the first to attract widespread hostility even before the curtain rose on the first night.
On November 22, 2014, Los Angeles Opera staged Francesca Zambello’s updated version of Florencia in el Amazonas.
John Adams and his long-standing collaborator Peter Sellars have described The Gospel According to the Other Mary as a ‘Passion oratorio’.
Superb conducting from veteran Croatian maestro Nikša Bareza makes up for an absurd waterlogged new production of Tchaikovsky’s masterpiece.
After the horrors of Jagoš Marković’s production of Le Nozze di Figaro in Belgrade, I was apprehensive lest Nabucco in Serbia’s second city of Novi Sad on 27th October would be transplanted from 6th century BC Babylon to post-Saddam Hussein Tikrit or some bombed-out kibbutz in Beersheba.
First Toronto, then Houston and now San Francisco, the third stop of a new production of Puccini's La bohème by Canadian born, British nurtured theater director John Caird.
Every once in a while Los Angeles Opera presents an important recital in the three thousand seat Dorothy Chandler Pavilion.
This third revival of Laurent Pelly’s production of Donizetti’s L’elisir d’amore needed a bit of a pep up to get moving but once it had been given a shot of ‘medicinal’ tincture things spiced up nicely.
Founded in 1996, Samling describes itself as a charity which ‘inspires musical excellence in young people’.
The good news is that you don’t have to go all the way to Pesaro for great Rossini.
Maître à danser: William Christie and Les Arts Florissants at the Barbican, London, presented a defining moment in Rameau performance practice, choreographed with a team of dancers.
The most memorable thing (and definitely not in a good way) about this performance of Le Nozze di Figaro at the Serbian National Theatre in Belgrade was the self-serving, infantile, offensive and just plain wrong production by celebrated Serbian theatre director Jagoš Marković.
Should looks matter when casting the role of the iconic temptress for HD simulcast?
Maurice Greene (1696-1755) had a highly successful musical career. Organist of St. Paul’s Cathedral, a position to which he was elected when he was just 22 years-old, he later became organist of the Chapel Royal, Professor of Music at the University of Cambridge and, from 1735, Master of the King’s Music.
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.