Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

POP Butterfly: Oooh, Cho-Cho San!

I was decidedly not the only one who thought I was witnessing the birth of a new star, as cover artist Janet Todd stepped in to make a triumphant appearance in the title role of Pacific Opera Project’s absorbing Madama Butterfly.

The Maryland Opera Studio Defies Genre with Fascinating Double-Bill

This past weekend, the Maryland Opera Studio (MOS) presented a double-billed performance of two of Kurt Weill’s less familiar staged works: Zaubernacht (1922) and Mahagonny-Songspiel (1927).

Nash Ensemble at Wigmore Hall: Focus on Sir Harrison Birtwistle

The Nash Ensemble’s annual contemporary music showcase focused on the work of Sir Harrison Birtwistle, a composer with whom the group has enjoyed a long and close association. Three of the six works by Birtwistle performed here were commissioned by the Nash Ensemble, as was Elliott Carter’s Mosaic which, alongside Oliver Knussen’s Study for ‘Metamorphosis’ for solo bassoon, completed a programme was intimate and intricate, somehow both elusive in spirit and richly communicative.

McVicar's Faust returns to the ROH

To lose one Marguerite may be regarded as a misfortune; to lose two looks like carelessness. But, with the ROH Gounod’s Faust seemingly heading for ruin, salvation came in the form of an eleventh-hour arrival of a redeeming ‘angel’.

A superb Semele from the English Concert at the Barbican Hall

It’s good to aim high … but be careful what you wish for. Clichéd idioms perhaps, but also wise words which Semele would have been wise to heed.

A performance of Vivaldi's La Senna festeggiante by Arcangelo

In 1726 on 25 August, Jacques-Vincent Languet, Comte de Gergy, the new French ambassador to the Venetian Republic held a celebration for the name day of King Louis XV of France. There was a new piece of music performed in the loggia at the foot of Languet's garden with an audience of diplomats and, watching from gondolas, Venetian nobles.

Matthew Rose and Tom Poster at Wigmore Hall

An interesting and thoughtfully-composed programme this, presented at Wigmore Hall by bass Matthew Rose and pianist Tom Poster, and one in which music for solo piano ensured that the diverse programme cohered.

Ekaterina Semenchuk sings Glinka and Tchaikovsky

To the Wigmore Hall for an evening of magnificently old-school vocal performance from Ekaterina Semenchuk. It was very much her evening, rather than that of her pianist, Semyon Skigin, though he had his moments, especially earlier on.

Hubert Parry's Judith at the Royal Festival Hall

Caravaggio’s depiction (1598-99) of the climactic moment when the young, beautiful, physically weak Judith seizes the head of Holofernes by the enemy general’s hair and, flinching with distaste, cleaves the neck of the occupying Assyrian with his own sword, evokes Holofernes’ terror with visceral precision - eyes and screaming mouth are wide open - and is shockingly theatrical, the starkly lit figures embraced by blackness.

La Pietà in Rome

Say "La Pietà" and you think immediately of Michelangelo’s Rome Pietà. Just now Roman Oscar-winning film composer Nicola Piovani has asked us to contemplate two additional Pietà’s in Rome, a mother whose son is dead by overdose, and a mother whose son starved to death.

Matthias Goerne: Schumann – Liederkreis, op 24 & Kernerlieder

New from Harmonia Mundi, Matthias Goerne and Lief Ove Andsnes: Robert Schumann – Liederkreis, op 24 and Kernerlieder. Goerne and Andsnes have a partnership based on many years of working together, which makes this new release, originally recorded in late 2018, well worth hearing.

Orfeo ed Euridice in Rome

No wrecked motorcycle (director Harry Kupfer’s 1987 Berlin Orfeo), no wrecked Citroen and black hearse (David Alagna’s 2008 Montpellier Orfée [yes! tenorissimo Roberto Alagna was the Orfée]), no famed ballet company (the Joffrey Ballet) starring in L.A. Opera’s 2018 Orpheus and Eurydice).

Jack the Ripper: The Women of Whitechapel - a world premiere at English National Opera

Jack the Ripper is as luridly fascinating today as he was over a century ago, so it was no doubt sensationalist of the marketing department of English National Opera to put the Victorian serial killer’s name first and the true subject of Iain Bell’s new opera - his victims, the women of Whitechapel - as something of an after-thought. Font size matters, especially if it’s to sell tickets.

Tosca at the Met


The 1917 Met Tosca production hung around for 50 years, bested by the 1925 San Francisco Opera production that lived to the ripe old age of 92.  The current Met production is just 2 years old but has the feel of something that can live forever.

Drama Queens and Divas at the ROH: Handel's Berenice

A war ‘between love and politics’: so librettist Antonio Salvi summarised the conflict at the heart of Handel’s 1737 opera, Berenice. Well, we’ve had a surfeit of warring politics of late, but there’s been little love lost between opposing factions, and the laughs that director Adele Thomas and her team supply in this satirical and spicy production at the ROH’s stunningly re-designed Linbury Theatre have been in severely short supply.

Mozart’s Mass in C minor at the Royal Festival Hall

A strange concert, this, in that, although chorally conceived, it proved strongest in the performance of Schumann’s Piano Concerto: not so much a comment on the choral singing as on the conducting of Dan Ludford-Thomas.

Samson et Dalila at the Met


It was the final performance of the premiere season of Darko Tresnjak’s production of Camille Saint-Saëns' Samson et Dalila. Four tenors later. 

The Enchantresse and Dido and Aeneas
in Lyon

Dido and Aeneas, Il ritorno d’Ulisse and Tchaikowsky’s L’Enchantresse, the three operas of the Opéra de Lyon’s annual late March festival all tease destiny. But far more striking than the thematic relationship that motivates this 2019 festival is the derivation of these three productions from the world of hyper-refined theater, far flung hyper-refined theater.

The devil shares the good tunes: Chelsea Opera Group's Mefistofele

Every man ‘who burns with a thirst for knowledge and life and with curiosity about the nature of good and evil is Faust ... [everyone] who aspires to the Unknown, to the Ideal, is Faust’.

La forza del destino at Covent Garden

Prima la music, poi la parole? It’s the perennial operatic conundrum which has exercised composers from Monteverdi, to Salieri, to Strauss. But, on this occasion we were reminded that sometimes the answer is a simple one: Non, prima le voci!

OPERA TODAY ARCHIVES »

Reviews

Die Rheinnixen [New Sussex Opera]
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.

Jacques Offenbach: Die Rheinnixen

Armgard: Kate Valentine; Hedwig: Anne-Marie Owens; Franz: David Curry; Conrad: Quentin Hayes; Gottfried: Daniel Grice; The Fairy: Birgit Rohowska. New Sussex Opera. Nicholas Jenkins, music director/ conductor.

 

Even 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 hope so.

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):