23 Aug 2009
Wagner's Tannhaüser at the Festspielhaus Baden-Baden
Good directors don't always create good productions.
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.
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.