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On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
For the first time in its history, this summer Garsington Opera will present four productions as well as a large community opera. 2017 also sees the arrival of the Philharmonia Orchestra for one opera production each season for the next five years.
New work by the English artist Rachel Kneebone will be exhibited at Glyndebourne Festival 2017, which opens for public booking on 5 March.
The London-based artist has created three new sculptures inspired by two of the operas being staged at the Festival this summer - Cavalli’s Hipermestra and a new opera based on Hamlet by composer Brett Dean and librettist Matthew Jocelyn.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia
Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory
mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola,
whose bicentenary is this year, to mark twenty years of performing at the
Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no
less than seven concerts in this season’s NTR ZaterdagMatinee series
feature works by Adams, including this concert version of his first opera,
Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener
Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the
Royal Concertgebouw, Daniele Gatti, came together for their first engagement in
a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and
Wiener Philharmoniker, to hear these three top orchestra perform their series
programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
11 Oct 2009
Orfeo at La Scala
Robert Wilson staged Salome at La Scala in 1987, installing a troop of student actors on the stage to enact some sort of abstract action flow that had no discernible relationship to the Salome libretto, meanwhile sung by concert dressed opera stars huddled on a corner of the stage.
Had the Kent Nagano pit not been appallingly lackluster perhaps some chance illuminations of the Strauss score might have been struck, as was Mr. Wilson’s intention.
Just now, 22 years later Mr. Wilson has struck out again, this time with Monteverdi’s Orfeo, a few distinguished early music singers exercising abstracted hand and arm gestures and stilted dance movements, and a well-known Wozzeck screeching Orfeo in whiteface. Had Rinaldo Alessandrini not been in the pit there would have been no flashes of the Monteverdi genius, and as it was these were reduced to a very few.
The Alessandrini Monteverdi trilogy at La Scala has been eagerly anticipated, particularly after his sublime cycle of Monteverdi madrigals (complete) at the Edinburgh Festival two years ago. Mo. Alessandrini brings a restoration to these old scores much as faded and mutilated Renaissance paintings are imbued with vibrant original line and color through restoration. In the visual arts this is accomplished by complicated scientific process, in the spheres of music Alessandrini must rely on his dramatic intuitions.
He finds infinite colors and timbres to the narrower tones of old instruments and to the whiter production of the human voice. He hones the vowels, carves the consonants and sculpts the phrases of a pristine Italian, and he drives its rhythms and tempos to embrace larger periods. He generates the precise moment when emotion bursts into syllable and sentence. Under Alessandrini’s baton the Monteverdi word does indeed become the Orphic moment.
Robert Wilson is an architect. The art of architecture, it is said, is frozen music. He chose a Titian painting, Venus with Eros and an Organist, as his visual metaphor for the world’s first great opera. In the painting two small forests of cypress trees nearly converge in a strong perspective that carries our erotic imagination suggestively beyond the foreground dominated by a lush female nude scrutinized by the male organist twisting around from his keyboard.
Scene from Orfeo [Photo by Marco Brescia - La Scala Photographic Archives]
In Wilson’s version exactly twelve perfectly shaped trees are carefully frozen into a perspective space through his characteristic hard edge, sculptural lighting. Wilson replaces Titian’s sumptuous foreground nude and the leering organist with his Orpheus who dominates the foreground, rushing back and forth across the stage apron. Titian’s pastoral nudity was replaced by the off-white costumes (the flesh color of Titians’ Venus) that generically covered the shepherdesses and made the shepherds comically plumb-shaped rather than sveltely swain-shaped.
The familiar characters of this well-known myth were presented as elaborately dressed Renaissance mannequins who moved from frozen gesture to frozen gesture, Monteverdi’s tumbling torrents of words stopped in their tracks by Wilson’s motionless visuals. The Messaggera who delivers the emotional account of Euridice’s death was Sara Mingardo, known for her fine recordings with Rinaldo Alessandrini and his Concerto Italiano that have earned her the reputation as the Maria Callas of early music. But for her extended second act monologue she was straight-jacketed by the staging and by a formless black dress, Alessandrini’s simple organ continuo unable to breath life into this great moment of early opera, sadly lost in the vast spaces of this huge theater.
Austrian baritone Georg Nigl was Orfeo. Though a credentialed early music singer he is better known on major European stages as a Wozzeck. He has a sizable voice and persona that is well able to fill large theaters. He lacks both a beautiful voice and a sympathetic presence, thus he was unable to project the strong humanity that overflows much mannerist art and particularly these emotionally heightened Monteverdi monologues. Uniquely, Wilson afforded him the only dynamism allowed on the stage, keeping him prominently moving in the foreground of the stage picture. His positioning on the stage apron sometimes activated acoustical quirks in the Scala auditorium, creating echos that heightened the freakishness of his detached note ornamentations.
Left to his own devices, Alessandrini shone in the sinfornie and the orchestral ritornelli, and very nearly got the extended madrigal that closes the second act into the spheres of great music. Other than the discomfort apparent in Mr. Nigl’s delivery of the Italian language, much of the beauty of the language was present in the otherwise Italian cast, though the finely detailed Musica of early music star Roberta Invernizzi was lost in the Wilson staging and in the vastness of La Scala. The Pluto of Giovanni Battista Parodi and the Proserpina of Raffaella Milanesi made no effect, while the Caronte of Luigi de Donato was buried under a silly costume. Only among the solo shepherds were there occasional glints of real, live performances.
Robert Wilson made important theatrical discoveries, and his innovations have enlivened our ideas of theater. He established his moment in the last third of the twentieth century, and is now working to preserve his legacy through the creation of his foundation. Given the formidable scope of his upcoming projects it is apparent that the foundation has become his atelier, and that projects like this Orfeo are stamped out in his mold. The sense of theatrical discovery that was once at the heart of his work was not present in his staging of this opera.
Rinaldo Alessandrini is the man of the moment, his discoveries of new depths in old music have uncovered musical vistas yet to be explored in both old and new music. This new sense of music theater deserves an original staging, one that hears this music, a staging that explores the excitement of Mo. Alessandrini’s discoveries rather than forces them into a dated mold.