Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Cold Mountain, Philadelphia

Opera Philadelphia deserves congratulations on yet another coup. The company co-commissioned Cold Mountain, an opera by Jennifer Higdon based on Gene Scheer’s adaptation of Charles Frazier’s celebrated Civil War epic.

Christian Gerhaher Wolfgang Rihm Wigmore Hall

For their first of two recitals at the Wigmore Hall, Christian Gerhaher and Gerold Huber devised an interesting programme - popular Schubert mixed with songs by Wolfgang Rihm and by Huber himself.

Götterdämmerung in Palermo

There are not many opera productions that you would cross oceans to see. Graham Vick’s Götterdämmerung in Sicily however compelled such a voyage.

Emmanuel Chabrier L’Étoile — Royal Opera House London

Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.

Robert Ashley’s Quicksand at the Kitchen

Robert Ashley’s opera-novel Quicksand makes for a novel experience

Premiere of Raskatov’s Green Mass

One of the leading Russian composers of his generation, Alexander Raskatov’s reputation in the UK and western Europe derives from several, recent large-scale compositions, such as his reconstruction of Alfred Schnittke’s Ninth Symphony from a barely legible manuscript (the work was first performed in 2007 in the Dresden Frauenkirche by the Dresden Philharmonic under Dennis Russell Davies), and his 2010 opera A Dog’s Heart, based on Mikhail Bulgakov’s satire (which was directed by Simon McBurney at English National Opera in 2010, following the opera’s premiere at Netherlands Opera earlier that year).

Orpheus in the Underworld, Opera Danube

I’m not sure that St John’s Smith Square was the most appropriate venue for Opera Danube’s latest production: Jacques Offenbach’s satirical frolic, Orpheus in the Underworld.

Lady Macbeth of Mtsensk in Lyon

This nasty little opera evening in Lyon lived up to the opera’s initial reputation as pure pornophony. This is the erotic Shostakovich of the D minor cello sonata, it is the sarcastic and complicated Shostakovich of The Nose . . .

Bel Canto: A World Premiere at Lyric Opera of Chicago

During December 2015 and presently in January Lyric Opera of Chicago has featured the world premiere of the opera Bel Canto, with music by Jimmy López and libretto by Nilo Cruz, based on the novel by Ann Patchett.

Tosca, Royal Opera

Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.

Lianna Haroutounian resplendent in Madama Butterfly at the Concertgebouw

The title role is a deciding factor in Madama Butterfly. Despite a last-minute conductor cancellation, last Saturday’s concert performance at the Concertgebouw was a resounding success, thanks to Lianna Haroutounian’s opulent, heart-stealing Cio-Cio-San.

Classical Opera: MOZART 250 — 1766: A Retrospective

With this performance of vocal and instrumental works composed by the 10-year-old Mozart and his contemporaries during 1766, Classical Opera entered the second year of their 27-year project, MOZART 250, which is designed to ‘contextualise the development and influences of [sic] the composer’s artistic personality’ and, more audaciously, to ‘follow the path that subsequently led to some of the greatest cornerstones of our civilisation’.

Benjamin Appl — Schubert, Wigmore Hall London

Luca Pisaroni and Wolfram Rieger were due to give the latest installment in the Wigmore Hall's complete Schubert songs series, but both had to cancel at short notice. Fortunately, the Wigmore Hall rises to such contingencies, and gave us Benjamin Appl and Jonathan Ware. Since there's a huge buzz about Appl, this was an opportunity to hear more of what he can do.

Ferrier Awards Winners’ Recital

The phrase ‘Sunday afternoon concert’ may suggest light, post-prandial entertainment, but soprano Gemma Lois Summerfield and her accompanist, Simon Lepper, swept away any such conceptions in this demanding programme at St. John’s Smith Square.

Pelléas et Mélisande at the Barbican

When, o when, will someone put Peter Sellars and his compendium of clichés out of our misery?

Samuel Barber: Choral Music

This recording, made in the Adrian Boult Hall at the Birmingham Conservatoire of Music in June 2014, is the fourth disc in SOMM’s series of recordings with Paul Spicer and the Birmingham Conservatoire Chamber Choir.

L'Arpeggiata: La dama d’Aragó, Wigmore Hall

Having recently followed some by-ways through the music of Purcell, Monteverdi and Cavalli, L’Arpeggiata turned the spotlight on traditional folk music in this characteristically vibrant and high-spirited performance at the Wigmore Hall.

Tippett : A Child of Our Time, London

Edward Gardner brought all his experience as a choral and opera conductor to bear in this stirring performance of Michael Tippett’s A Child of Our Time at the Barbican Hall, with a fine cast of soloists, the BBC Symphony Orchestra and BBC Symphony Chorus.

Taverner and Tavener, Fretwork, London

‘Apt for voices or viols’: eager to maximise sales among the domestic market in Elizabethan England, publishers emphasised that the music contained in collections such as Thomas Morley’s First Book of Madrigals to Four Voices of 1594 was suitable for performance by any combination of singers and players.

Fall of the House of Usher in San Francisco

It was a single title but a double bill and there was far more happening than Gordon Getty and Claude Debussy. Starting with Edgar Allen Poe.

OPERA TODAY ARCHIVES »

Reviews

Christof Loy [Photo courtesy of Christof Loy and Royal Opera House]
06 Sep 2009

Christof Loy speaks about the new Tristan und Isolde at the Royal Opera House, London.

“Opera has so much to give” says Christof Loy, whose new production of Tristan und Isoldeopens at the Royal Opera House on 29th September. This opera is so familiar that everyone assumes they know it. But Loy’s approach involves going straight back to the score, and to the inherent drama in the music. “I don’t like superficial distractions".

Christof Loy speaks about the new Tristan und Isolde at the Royal Opera House, London.

Above: Christof Loy [Photo courtesy of Christof Loy and Royal Opera House]

 

This unflinching focus on the music can be shocking. Loy’s recent production of Lulu allowed the maze-like intricacies of Berg’s music to shine while also capturing the disturbing spirit. As Schilgolch says, when he steps on the polished marble in Lulu’s mansion, “Someone could get hurt around here”. What will Loy make of *Tristan und Isolde? *

Perhaps his secret is that he goes back to the soul of the drama. Understanding the roles and how they interact is part of the process. When we met, Loy was still in the early stages of rehearsal, working from the piano, with the singers and conductor, Antonio Pappano. “It is wonderful to be doing this with Nina Stemme, who has sung Isolde so many times. She’s so close to Isolde’s rich personality” Loy and Stemme have enjoyed a good relationship for many years, so working together is a pleasure.

“She understands so much”,he adds, “She knows what I mean when I talk about this opera as chamber-like. There are moments when the music explodes, boiling over with intense emotion. We all have habits and assumptions we don’t even notice we are carrying, but when you study the score carefully, there’s so much stillness, so much delicacy. There are habits we all have without even realizing it, so Sometimes I feel like a policeman, holding things back, saying Attention ! Stop and listen to the quieter parts in the music and hear them carefully. Don’t get too intense too early ! But Nina knows what I mean when I talk about the dangers of rushing in with the wrong kind of heroics, and together we discover more things about the parts”. Loy mentions the recording of Kirsten Flagstad, singing Isolde at Covent Garden in the 1930’s. “She is so fresh, so lyrical, she sings with so much tenderness”.

“There is a tradition of hearing Tristan und Isolde as some kind of Teutonic Romeo and Juliet, and simply portraying them as an unhappy couple in love, thwarted by the world around them. But in the music there is so much more”. The story in this opera starts long before the curtain rises. That’s why the First Act involves so much discussion of Isolde’s past and her motives for wanting revenge. Similarly, Marke’s long monologue fills in background. The action, as such, is in the characters. Thus it’s astute that Loy’s approach has come through understanding what motivates the characters and why they think and act the way they do. “They are like family to me now”, he laughs.

“These are fragile people”, he adds. “And fragile people often hide behind an emotional wall to hide their deepest feelings”. Tristan in particular is a much more complex person than his surface heroism might indicate. “He is an extremely damaged person, carrying so much guilt. His father died after begetting him, his mother died giving him birth, and he breaks his uncle’s heart. ‘Zu welchem Los erkoren, ich damals wohl geboren?’”

“So Tristan feels unworthy, but like so many macho men, he builds up an action hero image which has nothing to do with what he feels inside. He cannot express himself, he hides behind an emotional coat of armour”. To the world he may be “der Helden ohne Gleiche” but Isolde, ever sharp, sees him cowering, “in Scham und Scheue”.

Yet when Marke wants to reward him by making him his heir, it’s Tristan who demands that Marke marry a woman who may give him children. It’s not what Marke wants, but Tristan forces him. Tristan rejects the life Marke offers him, already self destructive. When he sees Isolde, he offers her his own sword, that she may kill him.

“Tristan probably has never had anyone to confide in. But Isolde has no problems at all expressing herself, even though Brängäne can’t keep up. She’s so direct.” ” All that night and day imagery, it’s as though Isolde no longer wants to hide.” So it starts Tristan him opening up, though it’s only when he knows he’s finally about to die that he makes full confession. So it’s so tragic that then he only has Kurnewal around, who doesn’t understand.”

Studying the score, Loy was struck by what it revealed about how relationships grow. “They are so used to being alone that it is quite a shock to them that they’re in love, and that they are loved in return. Throughout the opera there are references to things that aren’t necessarily what they first seem. “So Tristan asks Isolde if she will follow him, he talks about the bed on which he was born and on which his mother died, “das Wunderreich der Nacht”. But she assumes he means he’s going back to his estates, “dein Erbe mir zu ziegen”. “Wagner is extremely clear on many details,” says Loy, “but on some things he’s more subtle.” So I asked Loy about certain aspects of the libretto that I’ve wondered about in the past, like what actually goes on in the Liebestod. He smiled enigmatically, and said “Read the libretto”. In the Liebestod, Isolde is completely convinced that Tristan is alive and breathing, surprised that others can’t see him smile or hear the “melody” that arises from his body. What is the nature of that transfiguring “höchste Lust “?

Christof Loy was awarded the “Musikpreis der Stadt Duisburg” in 2001, for his London staging of Ariadne auf Naxos he was nominated for the Laurence Olivier Award, and in 2003 and 2004 he was named Director of the Year by the critics of the periodical Opernwelt. In 2008, he was awarded with the “Faust”-Theaterpreis. In the near future his opera engagements will take him to the Theater an der Wien (Prinz von Homburg), Stockholm (Ballo in maschera), Amsterdam (Les Vêpres siciliennes), as well as to Geneva (Donna del Lago and Lustige Witwe) and Aix-en-Provence (Alceste). Recent works include: Lucrezia Borgia (Munich), Theodora (Salzburg Festspiele) and Lulu (Royal Opera House).

Anne Ozorio

“Tristan und Isolde” opens at the Royal Opera House, London on 29th September and runs until 18th October. Nina Stemme sings Isolde, Ben Heppner Tristan, John Tomlinson King Marke, Michael Volle Kurnewal, Sophie Koch Brangäne. Please see http://www.roh.org.uk/whatson/production.aspx?pid=9989

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):