Recently in Reviews
Philippe Jaroussky lends poetry and poise to the sounds of nineteenth- and
At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme
each season during the next 27 years to exploring the music by Mozart and his
contemporaries which was being written and performed exactly 250 years
The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.
An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.
On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.
This second revival of Patrice Caurier and Moshe Leiser’s 2005 production of Rossini’s Il Turco in Italia seems to have every going for it: excellent principals comprising experienced old-hands and exciting new voices, infinite gags and japes, and the visual éclat of Agostino Cavalca’s colour-bursting costumes and Christian Fenouillat’s sunny sets which evoke the style, glamour and ease of La Dolce Vita.
English Touring Opera’s 2015 Spring Tour is audacious and thought-provoking. Alongside La Bohème the company have programmed a revival of their acclaimed 2013 production of Donizetti’s The Siege of Calais (L’assedio di Calais) and the composer’s equally rare
The Wild Man of the West Indies (Il furioso all’isola di San
Mary Zimmerman’s still-fresh production is made fresher still by Shagimuratova’s glimmering voice, but the acting disappoints
When WNYC’s John Schaefer introduced Meredith Monk’s beloved Panda
Chant II, which concluded the four-and-a-half hour Meredith Monk &
Friends celebration at Carnegie’s Zankel Hall, he described it as “an expression of joy and musicality” before lamenting the fact that playing it on his radio show could never quite compete with a live performance.
This year’s concert of the Chicago Bach Project, under the aegis of the Soli Deo Gloria Music Foundation, was a presentation of the St. John Passion (BWV 245) at the Harris Theater in Millennium Park.
It is not an everyday opera. It is an opera that illuminates a larger verismo history.
On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.
Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to
explore the possibilities of unconventional spaces and unconventional programs
that the company has made its hallmark. The results were musically and
theatrically thought-provoking, and left me wanting more.
Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.
Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.
Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.
The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.
On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.
26 Oct 2009
Pascal Dusapin: Faustus, the Last Night
Pascal Dusapin (b. 1955) is an engaging composer, and his recent works includes a chamber opera entitled Faustus, the Last Night, a unique setting of the legend and a fine contribution to modern opera.
This version of Faust
differs from others, since it eschews the traditional narrative which starts
with Faust signing a pact with the devil, moves to the sometimes picaresque
adventures of the ensorcelled Faust, and ends with the devil claiming his soul.
Instead of retelling the story, Dusapin assembled the English-language libretto
from various sources to create a text focused on the trials and temptations of
Faust during the minutes before his fateful contract with the devil is due. In
a sense Dusapin takes his cue from Marlowe’s climactic soliloquy from
the end of his Tragical History of Doctor Faustus:
Now hast thou but one bare hour to live,
And then though must be damned perpetually,
Stand still, you ever-moving spheres of heaven,That time may cease ad midnight
O lente, lente currite noctis equi!
The stars move still; time runs; the clock will strike;
The devil will come, and Faustus must be damned. . . .
(Act 5, lines 57-61; 66-68)
In creating this work, Faust is not necessarily a character worth saving,
with the inanity of his diabolic pact made painfully clear, and Mephistopheles
characterized with the dimensionality which makes him more than a minion of
Satan, but approaching the persona of Lucifer in challenging the nature of
mortal existence. The conversational tone of Faustus, the Last Night may be
traced to the kind of opera Strauss created in Capriccio, in the medium
foregoes the depiction of physical action to result instead in a shift of
thought and concept. (The concept is also used in Henri Pousseu’s
Votre Faust (1969), which revolves around a discussion about the prospect of
an opera on the subject of Faust.) The conversational aspect of
Dusapin’s Faustusalso echoes some elements of early opera, which
resulted in various settings of familiar myth. Akin to those early
seventeenth-century works, music in Faustus serves as a means to an end, a way
for Dusapin to convey the verbal ideas effectively. At times, too, the score
functions as a kind of soundtrack in order to allow the work to shift between
scenes smoothly and offer cues to mood and tone.
The performers as a whole conveyed the work effectively. The
English-language text emerges clearly, and while listeners should not have a
problem with the enunciation, subtitles are possible in the original language,
as well as French and German. Since the libretto is not published with the DVD,
those interested in exploring the text further may use the subtitles as a point
of departure (future DVDs like this would benefit from the inclusion of the
full text in the digital medium, as a matter of convenience for the user). As
Mephistopheles, Urban Malmberg personifies the role. His command of the part is
remarkable and serves as a foil for the doomed Faustus, as depicted by Georg
Nigl. At times Malmberg and Nigl overlap their lines, as found in the score,
and this underscores the blurring of their characters in this work. In
Dusapin’s Faustus, Mephistopheles can be as absorbed in thought as
Faust. In lieu of a stage devil who simply represents the diabolical forces,
Mephistopheles offers some comments which can be as intriguing as the ones
Dusapin puts into Faust’s mouth.
This resembles the interchangeability which occurs in modern productions of
Don Giovanni in the singers who portray the title character and his servant
Leporello sometimes switch their roles between performances. In this sense,
Malberg and Nigl work well together in this work to create a good dynamic, and
the other principals respond well to it. The angel is one of the more engaging
of Dusapin’s characters, and Caroline Stein gave the role the level
of definition to counterbalance Mephistopheles. The other two characters,
Robert Wörle as Sly (derived from the character in the prologue to
Shakespeare’s Taming of the Shrew) and Jaco Huijpen as Togod offer
various perspectives on the dilemma in which Faust finds himself. Throughout
the performance the conductor Jonathan Stockhammer allows the orchestra to
support the singers deftly. His tempos reflect his sensitivity to the text,
which emerges clearly in an engaging reading of the score for this new version
of the Faust legend.
James L. Zychowicz