Recently in Reviews
Having enjoyed superb singing by a young cast of soloists in Classical
Opera’s UK premiere of Jommelli’s Il Vogoleso the
previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final
at the Wigmore Hall confirmed the strength and depth of talent possessed by the
young singers studying in and emerging from our academies and conservatoires.
On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.
Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.
London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.
Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.
On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.
New Co-Production Tristan und Isolde with Metropolitan: Simon
Rattle and Westbroek electrify Treliński’s Opera-Noir.
In an operatic world crowded with sure-fire bread and butter repertoire, Opera San Jose has boldly chosen to lavish a new production on a dark horse, Andre Previn’s A Streetcar Named Desire.
Choral symphony, oratorio, symphonic poem — Berlioz’s Roméo et Juliette does not fit into any mould. It has the potential to work as an opera-ballet, but incoherent storytelling and uninspired conducting undermined this production.
When Kasper Holten took the precaution of pre-warning ticket-holders that the Royal Opera House’s new production of Lucia di Lammermoor featured scene portraying ‘sexual acts’ and ‘violence’, one assumed that he was aiming to avert a re-run of the jeering and hectoring that accompanied last season’s Guillaume Tell. He even went so far as to offer concerned patrons a refund.
These are five very different reviews by students at the University of Maryland on its Opera Studio production of Regina — an interesting, informative and entertaining read . . .
‘Remember me, the one who is Pia;/ Siena made me, Maremma undid me.’ The speaker is Pia de’ Tolomei. She appears in a brief episode of Dante’s Divine Comedy (Purgatorio V, 130-136) which was the source for Gaetano Donizetti’s Pia de’ Tolomei - by way of Bartolomeo Sestini’s verse-novella of 1825.
"The large measure of formalism which forms the basis of De Materie does not in itself offer any guarantee that the work will be beautiful," says Dutch composer Louis Andriessen of his four-movement opera.
On April 1, 2016, Arizona Opera presented Falstaff by Giuseppe Verdi (1813-1901) and Arrigo Boito (1842-1918) in Phoenix. Although Boito based most of his libretto on Shakespeare’s The Merry Wives of Windsor, he used material from Henry IV as well. Verdi wrote the music when he was close to the age of eighty. He was concerned about his ability at that advanced age, but he was immensely pleased with Boito’s text and decided to compose his second comedy, despite the fact that his first, Un giorno di regno, had not been successful.
The brand new SF Opera Lab opened last month with artist William Kentridge’s staged Schubert Winterreise. Its second production just now, Svadba-Wedding — an a cappella opera for six female voices — unabashedly exposes the space in a different, non-theatrical configuration.
One may think of Tosca as the most Roman of all operas, after all it has been performed at the Teatro Costanzi (Rome’s opera house) well over a thousand times since 1900. Though equally, maybe even more Roman is Hector Berlioz’ Benvenuto Cellini that has had only a dozen or so performances in Rome since 1838.
Two new recordings from highly acclaimed specialists Opera Rara -
Gounod La Colombe and Donizetti Le Duc d'Albe.
Roll up! A new opera by Handel is to be performed, L’Elpidia overo li rivali generosi. It is based upon a libretto by Apostolo Zeno with music by Leonardo Vinci - excepting a couple of arias by Giuseppe Orlandini and, additionally, two from Antonio Lotti’s Teofane (which the star bass, Giuseppe Maria Boschi , on bringing with him from the Dresden production of 1719).
Radvanovsky in New York, Devia in Genoa — Donizetti queens are indeed in the news! Just now in Genoa Mariella Devia was the Elizabeth I for her beloved Roberto Devereux in a new trilogy of Donizetti queens (Maria Stuarda and Anne Bolena) directed by baritone Alfonso Antoniozzi.
‘All men become like their mothers. That is their tragedy. No man
does. That is his.’ ‘Is that clever?’ ‘It is perfectly
15 Nov 2009
Die Rheinnixen by New Sussex Opera
London has long been spoiled in the operatic rarity department, thanks to companies like Opera Rara, Chelsea Opera Group and University College Opera populating various areas of the Venn diagram that is obscure repertoire.
so, there remain gaps that even these pioneers fail to reach — at which
point, enter New Sussex Opera, in the first of what I hope will be a regular
series of visits to the capital.
It is not widely known that Offenbach ever ventured into German grand opera,
though a recording of Die Rheinnixen finally became available in 2005
thanks to the Orchestre de Montpelier (the disc was reviewed on this site).
Though Rhine Fairies are most familiar in operatic terms because of Wagner, an
audience at Offenbach’s opera would be forgiven for not realising there
was any common ground. Offenbach’s Rhine Fairies are a hybrid of a number
of different myths, from the Lorelei of popular legend to the jilted
maiden-spirits of Giselle.
The English rendition of the libretto has its clumsy moments, and although
some (such as switching between ‘thee’ and ‘you’ for
the sake of a rhyme) can be put down to the translator, tenor Neil Jenkins, the
majority of the unintentional humour is pretty inevitable. Cynics might say
that singing in a foreign language covers a multitude of sins — and this
is one of those operas where performance in translation serves to remove the
only layer of disguise from the sheer ludicrousness of the plot. We have an
amnesiac hero (thanks to a war-wound) who is shocked into recovering his senses
on the spot, long-lost family relationships being revealed at every turn, and
supernatural forces which overshadow the lives of the central characters. At
the centre of it all is a saintly heroine so fragile that singing too
strenuously almost kills her — an archetype which Offenbach took one step
further in Hoffmann (and another metaphor for the dangerous power of female
sexuality). That’s not the only thing which almost happens — a
devastating Wagnerian ending is narrowly averted when, as the principal
characters prepare to evade enemy capture by blowing up a strategically-placed
ammunition dump with themselves in it, the Rhine Fairies lure the baddies over
a precipice to their death and the goodies all breathe a sigh of relief and
live happily ever after. The opera predates Götterdämmerung by more than a
decade, but it’s difficult not to make the comparison.
A more than decent cast was assembled for the occasion: as the heroine,
Armgard, Kate Valentine struck the balance of youth and maturity with a capable
and sweet-edged lyric soprano and a firm and centred stage presence. As Franz,
David Curry, made an ardent lover, though was occasionally a little pallid and
strained in the top register, with a tendency to oversing. The more memorable
performances were in the older roles, with Anne-Marie Owens supplying a
dramatic centre in the pivotal role of Hedwig, Armgard’s mother whose
past youthful exploits with the now enemy, Conrad von Wenckheim, bring about
almost all of the plot’s developments. Quentin Hayes was a strong and
masculine Conrad, and Daniel Grice was sympathetic in the role of Gottfried
(here, in translation, Godfrey) — the true friend who never quite manages
to get the girl.
The chorus sang idiomatically, and the smaller roles were taken more than
ably by members of the amateur company. Conductor Nicholas Jenkins drew a clean
and poised performance from the orchestra, and the score has plenty to
recommend it. Offenbach inventively evokes a Germanic sound-world —
Franz’s ethereal entrance-aria almost seems to prefigure the way Mahler
used some of the Des Knaben Wunderhorn tunes in his early symphonies.
The imagination in the rest of the score should not be underestimated, and
would no doubt be easier to appreciate if Hoffmann had not remained so
firmly in the repertoire while Die Rheinnixen was as good as lost for
over a century. The composer reused so much of Rheinnixen in his later
work that listening to it can be quite disorientating. It takes an open mind to
think of the ‘Barcarolle’, and its introduction, were originally
intended to depict not the hypnotic stasis of Venetian canals but the waters of
a river which — thanks again to Wagner — most opera-lovers have
come to associate with primeval E flat chords. The Rhine-Fairies themselves
have the most obvious leitmotiv of the piece, a rising and falling
chromatic triplet figure, first introduced in Armgard’s Act 1 aria.
New Sussex Opera has expressed a hope that some of its future productions
— which, if an audience questionnaire included in the programme is
anything to go by, might include Wagner’s Die Feen,
Chabrier’s L’etoile and Gounod’s Mireille
— might bring the company back to London. On this evidence, let’s
Ruth Elleson © 2009