Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Daniel Michieletto's Cav and Pag returns to Covent Garden

It felt rather decadent to be sitting in an opera house at 12pm. Even more so given the passion-fuelled excesses of Pietro Mascagni’s Cavalleria Rusticana and Ruggero Leoncavallo’s Pagliacci, which might seem rather too sensual and savage for mid-day consumption.

Manitoba Opera: Madama Butterfly

Manitoba Opera opened its 45th season with Puccini’s Madama Butterfly proving that the aching heart as expressed through art knows no racial or cultural divide, with the Italian composer’s self-avowed favourite opera still able to spread its poetic wings across time and space since its Milan premiere in 1904.

Ian Bostridge and Julius Drake celebrate 25 years of music-making

In 1992, concert promoter Heinz Liebrecht introduced pianist Julius Drake to tenor Ian Bostridge and an acclaimed, inspiring musical partnership was born. On Wenlock Edge formed part of their first programme, at Holkham Hall in Norfolk; and, so, in this recital at Middle Temple Hall, celebrating their 25 years of music-making, the duo included Vaughan Williams’ Housman settings for tenor, piano and string quartet alongside works with a seventeenth-century origin or flavour.

Girls of the Golden West in San Francisco

Not many (maybe any) of the new operas presented by San Francisco Opera over the past 10 years would lure me to the War Memorial Opera House a second time around. But for Girls of the Golden West just now I would be there again tomorrow night and the next, and I am eagerly awaiting all future productions.

DiDonato is superb in Semiramide at Covent Garden

It’s taken a while for Rossini’s Semiramide to reach the Covent Garden stage. The last of the operas which Rossini composed for Italian theatres between 1810-1823, Semiramide has had only one outing at the Royal Opera House since 1887, and that was a concert version in 1986.

Hans Werner Henze Choral Music

Hans Werner Henze works for mixed voice and chamber orchestra with SWR Vokalensemble and Ensemble Modern, conducted by Marcus Creed. Welcome new recordings of important pieces like Lieder von einer Insel (1964), Orpheus Behind the Wire (1984) plus Fünf Madrigale (1947).

Philippe Jaroussky and Ensemble Artaserse at the Wigmore Hall

‘His master’s masterpiece, the work of heaven’: ‘a common fountain’ from which flow ‘pure silver drops’. At the risk of effulgent hyperbole, I’d suggest that Antonio’s image of the blessed governance and purifying power of the French court - in the opening scene of Webster’s The Duchess of Malfi - is also a perfect metaphor for the voice of French countertenor Philippe Jaroussky, as it slips through Handel’s roulades like a silken ribbon.

La Rondine Takes Flight in San Jose

Kudos to San Jose Opera for offering up a wholly winning, consistently captivating new production of Puccini’s seldom performed La Rondine.

Bettina Smith, Norwegian Mezzo, in Songs by Fauré and Debussy

Here are five complete song sets by two of the greatest masters of French song. The performers are highly competent. I should have known, given the rave reviews that their 2015 recording of modern Norwegian songs received.

Clonter Opera Gala

Clonter’s Opera Gala in the breath-taking beautiful ball-room at the Lansdowne Club in Mayfair was a glamorously glittering smattering of opera – which made me want to run out to every opera in town.  

Étienne-Nicolas Méhul: Uthal

The opera world barely knows how to handle works that have significant amounts of spoken dialogue. Conductors and stage directors will often trim the dialogue to a bare minimum (Magic Flute), have it rendered as sung recitative (Carmen), or have it spoken in the vernacular though the sung numbers may often be performed in the original language (Die Fledermaus).

A New Anna Moffo?: The Debut Disc of Aida Garifullina

Here is the latest CD from a major label promoting a major new soprano. Aida Garifullina is utterly remarkable: a lyric soprano who also can handle coloratura with ease. Her tone has a constant shimmer, with a touch of quick, narrow vibrato even on short notes.

A New Die Walküre at Lyric Opera of Chicago

From the start of Lyric Opera of Chicago’s splendid, new production of Richard Wagner’s Die Walküre conflict and resolution are portrayed throughout with moving intensity. The central character Brünnhilde is sung by Christine Goerke and her father Wotan by Eric Owens.

As One a Haunting Success in San Diego

San Diego Opera has mined solid gold with its mesmerizing and affecting production of As One, a part of their innovative ‘Detour Series.’

OLF: Songs by Tchaikovsky, Anton Rubinstein, Rachmaninov and Georgy Sviridov

Compared to the oft-explored world of German lieder and French chansons, the songs of Russia are unfairly neglected in recordings and in the concert hall. The raw emotion and expansive lyricism present in much of this repertoire was clearly in evidence at the Holywell Music Room for the penultimate day of the celebrated Oxford Lieder Festival.

Stockhausen’s STIMMUNG and COSMIC PULSES at the Barbican.

This concert was an event on several levels - marking a decade since the death of Stockhausen, the fortieth anniversary (almost to the day) since Singcircle first performed STIMMUNG (at the Round House), and their final public performance of the piece. It was also a rare opportunity to hear (and see) Stockhausen’s last completed purely electronic work, COSMIC PULSES - an overwhelming visual and aural experience that anyone who was at this concert will long remember.

Bampton Classical Opera Young Singers’ Competition 2017 - Winner Announced

Bampton Classical Opera is pleased to announce that the winner of the 2017 Young Singers’ Competition is mezzo-soprano Emma Stannard and the runner-up is tenor Wagner Moreira. The winner of the accompanists’ prize, a new category this year, is Keval Shah.

Il sogno di Scipione: a new recording from Classical Opera

With this recording of Mozart’s 1771 opera, Il sogno di Scipione (Sicpio’s Dream), Classical Opera continue their progress through the adolescent composer’s precocious achievements and take another step towards the fulfilment of their complete Mozart opera series for Signum Classics.

TOSCA: A Dramatic Sing-Fest

On November 12, 2017, Arizona Opera presented Giacomo Puccini’s verismo opera, Tosca, in a dramatic production directed by Tara Faircloth. Her production utilized realistic scenery from Seattle Opera and detailed costumes from the New York City Opera. Gregory Allen Hirsch’s lighting made the set look like the church of St. Andrea as some of us may have remembered it from time gone by.

The Lighthouse: Shadwell Opera at Hackney Showroom

‘Only make the reader’s general vision of evil intense enough … and his own experience, his own imagination, his own sympathy … and horror … will supply him quite sufficiently with all the particulars. Make him think the evil, make him think it for himself, and you are released from weak specifications.’

OPERA TODAY ARCHIVES »

Reviews

Wozzeck by Jan Lenica, 1928- 2001
11 Oct 2009

Wozzeck in designer khaki : Salonen and Keenlyside in London

In the opera house, stagings can impress by gorgeous sets and costumes. But in semi-staged performances, there's no where to hide behind. Semi-staging tests whether a director understands the music and what its dramatic soul might be. In dramaturgy, less is more.

Alban Berg : Wozzeck

Wozzeck: Simon Keenlyside, Marie : Katarina Dalayman, The Captain : Peter Hoare, Andres : Robert Murray, The Doctor : Hans-Peter Scheidegger, Drum Major: Hubert Francis, Margret : Anna Burford, Apprentices : David Soar and Leigh Melrose, Idiot: Ben Johnson, Soldier: Peter Wilman, Marie's child : Louis Watkins,Philharmnia Voices, Aidan Oliver, chorusmaster, Philharmonia Orchestra, Esa-Pekka Salonen, conductor. Jean-Baptiste Barrière, director. Royal Festival Hall, South Bank, London, 8th October 2009.

 

Alban Berg’s music is so visual that Wozzeck could lend itself extremely well to semi-staging, so this performance, at the Royal Festival Hall on London’s South Bank might have been a chance to see something truly innovative. Most of the action in this opera happens in the minds of the protagonists. So much is said in musical imagery that a concert performance can be inherently dramatic even without props. Berg builds patterns and mazes into his music, and the solo parts in the orchestra act as roles within a symphony of sound.

Unfortunately this performance turned out to be a lost opportunity. It was the final concert in an ambitious series titled “Vienna: City of Dreams 1900-1930”. Ostensibly, the concerts were part of a wider panorama presenting the music in the context of Vienna at a time of unprecedented developments, in music, literature, philosophy,art and psychology. Perhaps the message had to be blunted because the music of the Second Viennese School doesn’t promise box office success. So perhaps it was too much to expect a production that referenced the innovations in theater design that were part of Vienna’s significance. Musically, though, performances have been extremely strong. Esa-Pekka Salonen has proved his worth as head of the Philharmonia. He and this orchestra, arguably London’s finest, are an excellent match. Their performance of Schoenberg’s Gurrelieder in February was exceptionally good and fortunately was recorded. The CD is now available.

Wozzeck demands great orchestral forces, so visual impact is already built into a semi-staged performance. A sensitive production could even have made capital of the situation, focusing on what happens in the orchestra,. Even the fact that there’s barely a yard between music and and singers is no disadvantage: Wozzeck is about tight corners and entrapment.

In this performance, there was a huge screen behind the orchestra on which were projected many visual images - oil on water transparencies, montages, close-ups of the singers. This could have worked very well in theory, because Berg was interested in cinema, and his music lends itself to expression in film. In practice however, what happened on screen was busy rather than focused, distracting from rather than reinforcing the inherent drama in the music.

In opera, singers are singing “about” something. Context matters. Just as orchestral musicians need a conductor, singers need direction. Katarina Dalayman has sung Marie so often that we know what she’s capable of when truly inspired. Here she sang well, but wasn’t challenged to show her acting skills, which are usually considerable.

This was Simon Keenlyside’s debut as Wozzeck, eagerly awaited by his many admirers. Although he’s a light rather than dark baritone, at the higher registers he can catch the tension in the part, which subtly connects to the shrill tenor parts around him, and contrasts well with the bass Doctor, sung by Hans-Peter Scheidegger. Keenlyside’s forte, though, is his naturally elegant bearing. He looks aristocratic, whatever he does, even his stubble looked expensively manicured. This was a Wozzeck in designer khaki. This could well have worked, because the opera isn’t about outward appearances. With suitable direction, Keenlyside could have created character wearing a tuxedo. Wozzeck’s world is surreal, after all. Perhaps Keenlyside’s talents will be put to better use in future, more complete productions.

With semi-staging, detail counts even more than in full production. So why did Marie’s child appear in the final scene dressed in beautifully pressed, emerald green silk pajamas? We don’t know what the child’s future might be, but the indications aren’t hopeful. “Ringel, ringel Rosenkranz” sing the taunting children, and the words “Hopp, Hopp” indicate a repetitive child’s game . Berg’s fascination with circular forms and patterns would also imply the child might well end up like Wozzeck. If emerald green silk means anything, it should have been supported by other images and from the music. I also didn’t understand why the children walk on dressed in funereal black, like a cortege, Marie’s son following behind. It isn’t necessarily wrong but without substantiation it doesn’t add to the drama or to the meaning of the opera.

This is the dilemma of all stage direction faces. Visual images are open to all kinds of interpretation. They operate on many levels at the same time, and can be seen in different ways. That’s why stage direction is controversial, there’s never only one way of seeing things. Visual literacy is a skill, too, but perhaps we’ve been conditioned to TV and movies for so long, it’s a lost art. That’s why semi-staged performances are important because they concentrate the mind on the essentials of dramatic meaning. This production, directed by Jean-Baptiste Barrière seemed like grand opera manqué rather than focused concentration on the fundamentals in the drama. But getting the basics right is the key to all good direction.

Anne Ozorio

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):