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

The Threepenny Opera, London

‘Mack does bad things.’ The tabloid headline that convinces Rory Kinnear’s surly, sharp-suited Macheath that it might be time to take a short holiday epitomizes the cold, understated menace of Rufus Norris’s production of Simon Stephens’ new adaptation of The Threepenny Opera at the Olivier Theatre.

La bohème, LA Opera

On May 25, 2016, Los Angeles Opera presented a revival of the Herbert Ross production of Giacomo Puccini’s opera, La bohème. Stage director, Peter Kazaras, made use of the Dorothy Chandler Pavilion’s wide stage by setting some scenes usually seen inside the garret on the surrounding roof instead.

Amazons Enchant San Francisco

On May 21, 2016, Ars Minerva presented The Amazons in the Fortunate Isles (Le Amazzoni nelle Isole Fortunate), an opera consisting of a prologue and three acts by seventeenth century Venetian composer Carlo Pallavicino.

Mathis der Maler, Dresden

While Pegida anti-refugee demonstrations have been taking place for a while now in Dresden, there was something noble about the Semperoper with its banners declaring all are welcome, listing Othello, the Turk, and the hedon Papageno as examples.

The Makropulos Case, Munich

Opera houses’ neglect of Leoš Janáček remains one of the most baffling of the many baffling aspects of the ‘repertoire’. At least three of the composer’s operas would be perfect introductions to the art form: Jenůfa, Katya Kabanova, or The Cunning Little Vixen would surely hook most for life.

Orphée et Euridice, Seattle

It’s not easy for critics to hit the right note when they write about musical collaborations between students and professionals. We have to allow for inevitable lack of polish and inexperience while maintaining an overall high standard of judgment.

Die Meistersinger von Nürnberg, Munich

Die Meistersinger at the theatre in which it was premiered, on Wagner’s birthday: an inviting prospect by any standards, still more so given the director, conductor, and cast, still more so given the opportunity to see three different productions within little more than a couple of months).

Il barbiere di Siviglia at Glyndebourne

Director Annabel Arden believes that Rossini’s Il barbiere di Siviglia is ‘all about playfulness, theatricality, light and movement’. It’s certainly ‘about’ those things and they are, as Arden suggests, ‘based in the music’.

Oedipe at Covent Garden

George Enescu’s Oedipe was premiered in Paris 1936 but it has taken 80 years for the opera to reach the stage of Covent Garden. This production by Àlex Ollé (a member of the Catalan theatrical group, La Fura Dels Baus) and Valentina Carrasco, which arrives in London via La Monnaie where it was presented in 2011, was eagerly awaited and did not disappoint.

Gounod’s Roméo et Juliette at Lyric Opera, Chicago

Lyric Opera of Chicago staged Charles Gounod’s Roméo et Juliette as the last opera in its current subscription season.

L’incoronazione di Poppea, RAO

‘The plot is perhaps the least moral in all opera; wrong triumphs in the name of love and we are not expected to mind.’

Madame Butterfly , ENO

Anthony Minghella’s production of Madame Butterfly for ENO is wearing well. First seen in 2005, it is now being aired for the sixth time and is still, as I observed in 2013, ‘a breath-taking visual banquet’.

Valiant but tentative: La straniera at the Concertgebouw

This concert version of La straniera felt like a compulsory musicology field trip, but it had enough vocal flashes to lobby for more frequent performances of this midway Bellini.

London Festival of Baroque Music 2016: Words with Purcell

As poetry is the harmony of words, so music is that of notes; and as poetry is a rise above prose and oratory, so is music the exaltation of poetry.

The Dark Mirror: Zender’s Winterreise

From experiments with musique concrète in the 1940s, to the Minimalists’ explorations into tape-loop effects in the 1960s, via the appearance of hip-hop in the 1970s and its subsequent influence on electronic dance music in the 1980s, to digital production methods today, ‘sampling’ techniques have been employed by musicians working in genres as diverse as jazz fusion, psychedelic rock and classical music.

Great Scott Wows San Diego

On May 7, 2016, San Diego Opera presented the West Coast premiere of Great Scott, an opera by Terrence McNally and Jake Heggie. McNally’s original libretto pokes fun at everything from football to bel canto period opera. It includes snippets of nineteenth century tunes as well as Heggie's own bel canto writing.

Bellini’s Adelson e Salvini, London

A foiled abduction, a castle-threatening inferno, romantic infatuation, guilt-laden near-suicide, gun-shots and knife-blows: Andrea Leone Tottola’s libretto for Vincenzo Bellini’s first opera, Adelson e Salvini, certainly does not lack dramatic incident.

Manitoba Opera: Of Mice and Men

Opera as an art form has never shied away from the grittier shadows of life. Nor has Manitoba Opera, with its recent past productions dealing with torture, incest, murder and desperate political prisoners still so tragically relevant today.

The Rose and the Ring

Published in 1855 as an entertainment for his two daughters, William Makepeace Thackeray’s The Rose and the Ring is a burlesque fairy-tale whose plot — to the author’s wilful delight, perhaps — defies summation and elucidation.

The Lighthouse at San Francisco’s Opera Parallèle

What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.

OPERA TODAY ARCHIVES »

Reviews

Portrait du compositeur Vincent d'Indy (1851 - 1931) par Antoine Bourdelle au Musée Bourdelle.
16 Oct 2009

Fervaal by Vincent d’Indy

Vincent d’Indy lived eighty years and, when not composing, spent his time revising the teaching of music in France or simply annoying everybody.

Vincent d’Indy: Fervaal

Fervaal: Richard Crawley; Guilhen: Deanne Meek; Kaito: Barbara Dever; Arfagard: Donnie Ray Albert. American Symphony Orchestra conducted by Leon Botstein, at Avery Fisher Hall. October 14.

 

Nineteen when Prussia tramped all over his beloved France in 1870, he became a passionate nationalist with all the excesses of the time and place: anti-Germanism became, for him as for many, a racial “Celticism,” and his Francophilia included royalism, anti-Dreyfusism and anti-Semitism. Yet he was too good a musician not to appreciate Wagner and be influenced by Wagnerian method.

As a composer of opera, d’Indy was part of that post-Wagnerian movement determined to find in local folklore ways to celebrate national glory, a movement that produced dozens of works from Ireland to Armenia, most of them long forgotten — Humperdinck’s Hansel und Gretel is a rare success and survival. D’Indy’s Fervaal, which affects to find in the druids a mythic antidote to sophisticated modern life, is d’Indy’s contribution. It had its premiere in Brussels in 1897 and reached Paris in 1913 — just in time for this sort of perfervid nationalism to cheer entry into World War I; Fervaal has not been fully staged anywhere since. That the hero, a druidic prince of divine descent vowed to chastity — though how that will preserve his dynasty is not made clear — is seduced by the love of a “Saracen” princess. Their doomed union prefigures the death of the old gods and the birth of a world based on love (sound familiar?). The Celtic-Saracen passion might appeal to multiculturalists in modern France, with its huge, disaffected Muslim population, but would probably not delight the aristocratic d’Indy and leaves the auditor puzzled.

Still, as a concert version presented by the American Symphony Orchestra under that indefatigable lover of obscure scores, Leon Botstein, made clear, Fervaal is extraordinary without being especially endearing. The great flaw is that none of the three principal characters has much personality — they declaim at taxing length but they never persuade us that they feel any of the emotions they announce. They do not persuade us that they exist — that they have inner lives, emotions that can be reached by other persons. None of their music possesses the charm d’Indy gives to his choruses, who are variously and convincingly warring tribes, exultant priests, sensuous Saracens, spirits of the clouds or natural forces moaning as storms or winds. D’Indy might have achieved success with a dramatic oratorio had he ever composed one — grand opera on the Meyerbeer or Wagner pattern does not bring out his best.

The opera’s enormous orchestra lacked (Botstein said) several instruments d’Indy requested that are no longer much played. There were an enormous variety of winds and brasses typical of the period, exquisitely deployed: contrabass clarinets, for example, and four saxophones to accompany the apparition of the cloud-goddess Kaito and her cumulonimbus attendants — an answer for those who have doubted the spiritual qualities of the saxophone sound. For orchestral color, d’Indy was clearly a master of the genre — he is perhaps best known for his set of orchestral variations on the legend of the Descent of Ishtar — played in reverse from most complex to least, as the goddess disrobes to her naked theme.

My heart went out to the three lead singers — especially to Richard Crawley, a last-minute replacement, who had to learn the title role (easily as long as either Siegfried) in two and a half weeks — for the acres of ungrateful declamatory singing they were obliged to hurl out at Fisher Hall all evening. That they could pace themselves and did not run out of steam is a tremendous tribute to the professionalism of all hands. Donnie Ray Albert may lack the Wagnerian surge and sonorous depths that d’Indy appears to have hoped for in Arfagard, the uncompromising druid priest and prophet, but his sturdy bass-baritone never lost authority. Deanne Meek’s clear mezzo-soprano probably has some sensuous notes somewhere, but she didn’t much display them as the Saracen princess Guilhen, though one would have thought “seductiveness” part of the job description. She, too, deserves points for unflagging industry. Barbara Dever sang the small but distinctive role of Kaito, whom d’Indy calls the goddess of the clouds — but he wrote it and she sang it in the style and intensity of Wagner’s Erda, a part she could obviously handle whenever called upon. Many small roles were ably covered and the Concert Chorale of New York were especially virtuosic, with the only really lyric singing of the occasion.

John Yohalem

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):