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‘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.
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.
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.
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
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.
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 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
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’.
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.
Lyric Opera of Chicago staged Charles Gounod’s Roméo et Juliette as the last opera in its current subscription season.
‘The plot is perhaps the least moral in all opera; wrong triumphs in the name of love and we are not expected to mind.’
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’.
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.
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.
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.
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.
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.
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.
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.
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.
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