Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Anna Netrebko, now a dramatic soprano, shines in the Met’s dark and murky ‘Macbeth’

The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission

Arizona Opera Presents First Mariachi Opera

Houston Grand Opera commissioned Cruzar la Cara de la Luna from composer José “Pepe” Martínez, music director of Mariachi Vargas de Tecalitlán, who wrote the text together with Broadway and opera director Leonard Foglia. The work had its world premier in 2010. Since then, it has traveled to several cities including Paris, Chicago, and San Diego.

Plácido Domingo: I due Foscari, London

“Why should I go to hear Plácido Domingo” someone said when Verdi’s I due Foscari was announced by the Royal Opera House. There are very good reasons for doing so.

Philip Glass’s The Trial

Music Theatre Wales presented the world premiere of Philip Glass’s The Trial (Kafka) last night at the Linbury, Royal Opera House. Music Theatre Wales started doing Glass in 1989. Their production of Glass’s In the Penal Colony in 2010 was such a success that Glass conceived The Trial specially for the company.

Joyce DiDonato: Alcina, Barbican, London

To say that the English Concert’s performance of Handel’s Alcina at the Barbican on 10 October 2014 was hotly anticipated would be an understatement. Sold out for weeks, the performance capitalised on the draw of its two principals Joyce DiDonato and Alice Coote and generated the sort of buzz which the work did at its premiere.

Un ballo in maschera in San Francisco

The subject is regicide, a hot topic during the Italian risorgimento when the Italian peninsula was in the grip of the Hapsburgs, the Bourbons, the House of Savoy and the Pontiff of the Catholic Church.

A New Don Giovanni and Anniversary at Lyric Opera of Chicago

Lyric Opera of Chicago opened its sixtieth anniversary season with a new production of Mozart’s Don Giovanni directed by Artistic Director of the Goodman Theater, Robert Falls.

Grande messe des morts, LSO

It was a little over two years ago that I heard Sir Colin Davis conduct the Berlioz Requiem in St Paul’s Cathedral; it was the last time I heard — or indeed saw — him conduct his beloved and loving London Symphony Orchestra.

Guillaume Tell, Welsh National Opera

Part of their Liberty or Death season along with Rossini’s Mose in Egitto and Bizet’s Carmen, Welsh National Opera performed David Pountney’s new production of Rossini’s Guillaume Tell (seen 4 October 2014).

Mose in Egitto, Welsh National Opera

Welsh National Opera’s production of Rossini’s Mose in Egitto was the second of two Rossini operas (the other is Guillaume Tell) performed in tandem for their autumn tour.

L’incoronazione di Poppea, Barbican Hall

In Monteverdi’s first Venetian opera, Il Ritorno d’Ulisse (1641), Penelope’s patient devotion as she waits for the return of her beloved Ulysses culminates in the triumph of love and faithfulness; in contrast, in L’incoronazione di Poppea it is the eponymous Queen’s lust, passion and ambition that prevail.

Rameau’s Les Paladins, Wigmore Hall

After the triumphs of love, the surprises: Les Paladins, under their director Jérôme Correas, and soprano Sandrine Piau are following their tour of material from their 2011 CD, ‘Le Triomphe de L’amour’, with a new amatory arrangement.

Puccini : The Girl of the Golden West, ENO London

At the ENO, Puccini's La fanciulla del West becomes The Girl of the Golden West. Hearing this opera in English instead of Italian has its advantages, While we can still hear the exotic, Italianate Madama Butterfly fantasies in the orchestra, in English, we're closer to the original pot-boiler melodrama. Madama Biutterfly is premier cru: The Girl of the Golden West veers closer, at times, to hokum. The new ENO production gets round the implausibility of the plot by engaging with its natural innocence.

Anna Caterina Antonacci, Wigmore Hall, London

Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.

Il barbiere di Siviglia, Royal Opera

Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.

Gluck and Bertoni at Bampton

Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.

Purcell: A Retrospective

Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.

Mahler: Symphony no.3 — Prom 73

It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’

Los Angeles Opera Opens with La traviata

On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.

Stars of Lyric Opera at Millennium Park, 2014

In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.

OPERA TODAY ARCHIVES »

Reviews

Linda Watson (Brunnhilde), John Treleaven (Siegfried) [Photo by Monika Rittershaus courtesy of LA Opera]
11 Oct 2009

Los Angeles “Ring” continues to amaze

It’s three down and one to go in the first-ever staging of Richard Wagner’s Ring des Nibelungen at Los Angeles Opera. Following the premiere of Siegfried, the third installment of this epic work of music theater, it’s clear that director/designer Achim Freyer is a hands-down winner.

Richard Wagner: Siegfried

Graham Clark: Mime; John Treleaven: Siegfried; Vitalij Kowaljow: Wanderer; Oleg Bryjak: Alberich; Eric Halfvarson: Fafner; Stacey Tappan: Woodbird; Jill Grove: Erda; Linda Watson: Brünnhilde. Los Angeles Opera. James Conlon, conductor. Achim Freyer, director/designer.

Above: Linda Watson (Brunnhilde), John Treleaven (Siegfried) [Photo by Monika Rittershaus courtesy of LA Opera]

 

The audience that packed 3,600-seat Dorothy Chandler Pavilion for the September 26 afternoon event, was even more wildly enthusiastic about Feyer’s work than it had been at the end of Rheingold and Walküre that launched this $32-million project last season. (True, there were “boos,” but they were almost totally inaudible against the bravos heaped upon Freyer and his production team.) Yet one must ask whether Freyer’s Wagner is as great as it seems. Has the director, whose theory of theater was shaped in his native East Germany in Bert Brecht’s Berlin Ensemble, really found a — if not the — key to Wagner’s genius or has he rather created a spectacle that awes his audience into breathless admiration?

Although Freyer is clearly a winner, the bigger question is how well Wagner fares under his hand. Every director — even in this age of overheated Regieoper — claims to do what the composer wanted done to realize his intentions. Let’s start with Freyer’s most obvious triumph: he leaves one with the desire to see the segments of this Ring again — an opportunity that will be available when LA Opera stages three complete cycles of the tetralolgy in 2010. Freyer brings an immense amount to Wagner; he makes every moment an overlay of meanings involving symbols impossible to absorb and interpret in a single exposure. Yet his approach to Siegfried, compared to his two earlier installments of the cycle, is relatively minimalist. The stage is uncluttered, and largely absent are the mammoth doubles of the major characters. The staging relies heavily on effects achieved through sophisticated lighting.

Siegfried, although rich in event with the forging of the sword, the slaying of Dragon Fafner and the launching of the love story that will dominate Götterdämmerung, is by far the most difficult of the Ring operas to stage. Wagner, viewing the four-part work as a symphony, suggested that this third chapter is a scherzo, and that has prompted some directors to introduce all sorts of funny-bone nonsense into the staging. Freyer — happily — goes in another direction. Nothung, the sword, is forged vocally without the trappings of the Village Blacksmith, and Siegfried runs Fafner through with only a blue-lighted tube. Indeed, the dragon that dwarfs the stage in many productions is an understated Disneyesque dwarf in top hat.

LAOpera_Siegfried02.jpgScene from Siegfried [Photo by Monika Rittershaus courtesy of LA Opera]

One is relieved at the removal of such hackneyed attempts at “realism.” Freyer keeps a tight lid on the scherzo idea. Humor in Wagner? One recalls the waggish observations that Pfitzner’s monumental Palestrina is Parsifal without the jokes.” The one line in Siegfried that gets a laugh in this age of surtitles is the hero’s observation as he removes Brünnhilde’s armor: “That’s not a man!” Wagner hardly expected to split sides with that!

Young Siegfried is — like young Parsifal — a pure fool with everything to learn and only four hours to do so. It’s a heavy trip, and Freyer offers all the help he can in hints and images to get the hero to his goal. It’s the goal — Siegfried’s awakening of Brünnhilde and the great duet that follows - that is most problematic in this staging. Brünnhilde, despite heavily incestuous intimations on the part of Father Wotan, is still a virgin. In terms of sexual enlightenment, however, she is light years ahead of Siegfried who has spent his early years tumbling about the woods with only bears as companions. In the duet a huge distance is yet to be covered in only half an hour of music. It’s here that Freyer offers so much help that Wagner’s music suffers.

The wealth of imagery, lighting effects and those “invisible” imports from Kabuki drama that move slowly about the stage are a study in excess. Text is all important here, and as the curtain fell one wished for a concert performance of the duet to underscore this fact. Freyer’s decision to hide Brünnhilde in a haystack — plus a towering Afro and billowing gown — offered little help. Indeed, although Freyer is out to illuminate text and explain the story, he often detracts from the musical excellence of this production. That excellence is largely the work of music director James Conlon who knows this score note by note and has built an orchestral second to none to do his bidding. His cast, furthermore, is without weak links. True, John Treleaven and Linda Watson, his Siegfried and Brünnhilde, are best viewed as adequate singers, who work with intelligent sensitivity to realize Freyer’s intentions.

Superb, on the other hand, is Graham Clark’s portrayal of Siegfried’s guardian dwarf Mime, a role to which he has claimed almost sole ownership for two decades. As Wotan disguised as the Wanderer Ukrainian Vitalij Kowaljow makes his mark as the most promising young singer to tackle this role in recent seasons. Jill Grove’s Erda is definitive.

What is most strange about this Siegfried is that it is without emotional impact — and perhaps Freyer wants it that way. His teacher Brecht, after all, was out to put feelings on ice and make people think in his didactic theater. The viewer is all too absorbed by Freyer’s approach; he keeps one thinking — or guessing at least. He is demanding, and it’s impressing that the audience responds as positively as it does. Yet an occasional goose bump would provide welcome relief.

A final observation: Freyer grew up secured from the decadence of Hollywood by the Anti-Fascist Protective Wall (the official East German designation for that structure). Yet in Los Angeles one is always aware that Hollywood is right next door, and there is much in Freyer’s Ring — the streaming of colored patterns, the choreography of lighted tubes — that brings that proximity to mind. On the other hand, had Wagner had this technology at his fingertips, he — like Bach at a Bechstein — would have gone bonkers. He would have abandoned his insistence upon “real” trees and rocks and lost himself in the imagination in which Achim Freyer indulges himself perhaps a bit too freely.

Wes Blomster

Götterdämmerung, which completes the Los Angeles Ring, plays from, 3 to 25 April, 2010. Three cycles of the Ring will be on stage between May 29 and June 26, 2010.

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):