Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

LA Opera: Barber of Seville

Saturday, February 28, 2015, was the first night for Los Angeles Opera’s revival of its 2009 presentation of The Barber of Seville, a production by Emilio Sagi, which comes originally from Teatro Real in Madrid in cooperation with Lisbon’s Teatro San Carlos. Sagi and onsite director, Trevor Ross, made comedy the focus of their production and provided myriad sight gags which kept the audience laughing.

Marie-Nicole Lemieux, Wigmore Hall

Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me … I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.

Eine florentinische Tragödie and I pagliacci in Monte-Carlo

An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.

Carmen, Pacific Symphony

On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.

The Mastersingers of Nuremberg, ENO

Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.

San Diego Opera presents an excellent Don Giovanni

On Friday February 20, 2015, San Diego Opera presented Mozart’s Don Giovanni in a production by Nicholas Muni originally seen at Cincinnati Opera.

Tosca at Chicago Lyric

In a production first seen in Houston several years ago, and now revised by its director John Caird, Puccini’s Tosca has returned to Lyric Opera of Chicago with two casts, partially different, scheduled into March of the present season.

Henri Dutilleux: Correspondances

Henri Dutilleux’s music has its devotees. I am yet to join their ranks, but had no reason to think this was not an admirable performance of his song-cycle Correspondances.

LA Opera Revives The Ghosts of Versailles

In 1980, the Metropolitan Opera commissioned composer John Corigliano to write an opera celebrating the company’s one-hundredth anniversary. It was to be ready in 1983.

La Traviata, ENO

English National Opera’s revival of Peter Konwitschny’s production of Verdi’s La Traviata had many elements in common with the production’s original outing in 2013 (The production was a co-production with Opera Graz, where it had debuted in 2011).

Idomeneo in Lyon

You might believe you could go to an opera and take in what you see at face value. But if you did that just now in Lyon you would have had no idea what was going on.

Der fliegende Holländer, Royal Opera

I wonder whether we need a new way of thinking — and talking — about operatic ‘revivals’. Perhaps the term is more meaningful when it comes to works that have been dead and buried for years, before being rediscovered by subsequent generations.

Iphigénie en Tauride in Geneva

Hopefully this brilliant new production of Iphigénie en Tauride from the Grand Théâtre de Genève will find its way to the new world now that Gluck’s masterpiece has been introduced to American audiences.

Tristan et Isolde in Toulouse

Tristan first appeared on the stage of the Théâtre du Capitole in 1928, sung in French, the same language that served its 1942 production even with Wehrmacht tanks parked in front of the opera house.

Arizona Opera presents Tchaikovsky’s Eugene Onegin

Arizona Opera presented Eugene Onegin during and 1999-2000 season and again on February 1 of this year as part of the 2014-2015 season. In this country Onegin is not a crowd pleaser like La Bohème or Carmen, but its story is believable and its music melodic and memorable. Just hum the beginning of the “Polonaise” and your friends will know the music, if not where it comes from.

Ernst Krenek: Reisebuch aus den österreichischen Alpen, Florian Boesch, Wigmore Hall

Florian Boesch and Roger Vignoles at the Wigmore Hall in Ernst Krenek’s Reisebuch aus den österreichischen Alpen. Matthias Goerne has called Hanns Eisler’s Hollywooder Liederbuch the Winterreise of the 20th century. Boesch and Vignoles showed how Krenek’s Reisebuch is a journey of discovery into identity at an era of extreme social change. It is a parable, indeed, of modern times.

Anna Bolena at Lyric Opera of Chicago

Lyric Opera of Chicago’s new Anna Bolena, a production shared with Minnesota Opera, features a distinguished cast including several notable premieres.

San Diego Celebrates 50th Year with La Bohème

On Tuesday January 27, 2015, San Diego Opera presented Giacomo Puccini's La Boheme. It is the opera with which the company opened in 1965 and a work that the company has faithfully performed every five years since then.

English Pocket Opera Company: Verdi’s Macbeth

Last year we tracked Orfeo on his desperate search for his lost Euridice, through the labyrinths and studio spaces of Central St Martin’s; this year we were plunged into Macbeth’s tragic pursuit of power in the bare blackness of the CSM’s Platform Theatre.

Béla Bartók: Duke Bluebeard’s Castle

Béla Bartók’s only opera, Duke Bluebeard’s Castle, composed in 1911 and based upon a libretto by the Hungarian writer Béla Balázs, was not initially a success.

OPERA TODAY ARCHIVES »

Reviews

Kirsten Blanck as Princess Turandot [Photo by Catherine Ashmore courtesy of English National Opera]
13 Oct 2009

Turandot at ENO

A writer goes to dine in an urban Chinese restaurant, where his eye is caught by a distressed young woman among the crowd of diners.

Giacomo Puccini: Turandot

Princess Turandot: Kirsten Blanck; Calaf: Gwyn Hughes Jones; Liù: Amanda Echalaz; Timur: James Creswell; Emperor Altoum: Stuart Kale; Mandarin: Iain Paterson; Ping: Benedict Nelson; Pang: Richard Roberts; Pong: Christopher Turner. Conductor: Edward Gardner; Director: Rupert Goold; Associate Director/Choreographer: Aletta Collins; Set Designer: Miriam Buether; Costume Designer: Katrina Lindsay; Lighting Designer: Rick Fisher; Video Art and Design: Lorna Heavey; Translator: William Radice

Above: Kirsten Blanck as Princess Turandot

All photos by Catherine Ashmore courtesy of English National Opera

 

He builds a bloody, Tarantino-esque fantasy plot around her and her surroundings, stepping in and manipulating the world he has created until the characters in his nightmarish scenario eventually become so real that they destroy not just the girl but the writer too.

The girl is Liù, the story Turandot, and the writer very likely Puccini himself (though no great effort is made to give actor Scott Handy the composer’s likeness). Puccini loved Liù as a character, and died after creating her death scene. Rupert Goold’s production ends with the dying writer (here, slashed through the stomach by Turandot’s sword just as Calaf overpowers her with a kiss) taking centre stage, while the triùmphantly united Calaf and Turandot are relegated to either side.

It wasn’t until an hour after the final curtain, when I sat down to draft this review after reading the programme notes in detail on my bus ride home, that the directorial conceit began to form a joined-up entity in my mind and I finally worked out — I think — what was supposed to be going on. While I was sitting in the Coliseum with it happening in front of me, it made no sense whatsoever, and that’s poor theatre by anybody’s standards. Turandot should be a garish nightmare, and this was — unfortunately, not always in the way the director intended. From the chorus, which looked as if it had been plucked from a generic modern-dress performance of Act 2 of La bohème (nuns, transsexuals, Elvis impersonators, dominatrices…), to the murderous dancers with chefs’ trousers and pigs’ heads, to the Emperor Altoum (eloquently sung by Stuart Kale) who was played as an eccentric old drunk that the ‘writer’ decides to use as a pawn in his story, to Turandot’s creepy little servant-girl (or familiar spirit?) in her First Communion outfit — none of it bore any relation either to the plot or to Puccini’s music.

Kirsten Blanck’s soft-grained voice and dry European consonants take away any real cutting edge from her soprano, but she has a voice that is more than adequate for such a big role in such a big theatre, and rides the Act 2 ensemble very effectively. It’s just a shame that her character is given no dramatic context whatever. In the first act, Calaf falls in love not with the real Turandot but with a giant ice-sculpture facsimile of her; from her first appearance ‘in the flesh’ in Act 2, she looks like a demented bride.

The vocal highlights of this production come from Gwyn Hughes Jones as Calaf and Amanda Echalaz as Liù. Hughes Jones sings gloriously, even if he sounds underpowered once the heavy orchestration of the Alfano ending is underway. Not a natural stage creature, he fails to create much of a character — like Blanck, he has next to no help from the director in doing so. Just why, exactly, does he fall instantly in love? And what is it about him that eventually melts the ice princess? He has vocal ardour in spades, but his physical presence is oddly dispassionate. As for Echalaz — after a few years of spectacular performances for smaller UK companies like ETO and Opera Holland Park, the South African soprano’s star is at last truly in the ascendant. It is a large voice and there is some work she could still do on some of the more delicate parts of the role, but she has a magnetic stage presence and (despite a truly horrible costume) gave a performance of real heart. The American bass James Cresswell was a sincerely sung, sympathetic Timur.

Turandot_002.gifAmanda Echalaz as Liù and Gwyn Hughes Jones as Calaf

In the pit, Ed Gardner is on top form, making the lyrical passages bloom and the brutal ones blaze, while the ENO Chorus produce a massive and impressive sound. Most of William Radice’s translation is pretty respectable, but there are a few obvious problems which really need to be ironed out: in one of the opera’s subtlest and most legato passages, the moon chorus in Act 1, the words are perversely set against the beat, while in Act 3 the principals are subjected to rather a lot of unkind ‘i’ and ‘ee’ vowels on climactic high notes. And Pang’s nostalgia for his ‘gardens near Kiù’ was always destined to raise an unintentional titter from a London audience.

Turandot_003.gifFull Stage

The trio of ministers was plagued by illness; Peter van Hulle replaced Christopher Turner as Pong, while Richard Roberts (announced as suffering from a throat infection but willing to sing anyway) croaked his way through the first act before yielding to understudy Gareth Huw John (singing from the side of the stage) for the rest of the opera. Fortunately Benedict Nelson, the Ping, was not only completely healthy but in particularly fine voice.

Turandot was really the last of the great repertoire standards to get an up-to-date production in London. It is not the nightmare-Chinese-restaurant setting (with sets imaginatively conceived by Miriam Buether) that ruins Goold’s vision of the opera but his willingness to allow many of the opera’s big climaxes to take second place to the point he wants to make about the composer’s relationship with the piece. As such, it is a frustrating experience.

Ruth Elleson © 2009

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):