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

San Diego Opera presents Adams’ Riveting Nixon in China

Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.

Ars Minerva presents Castrovillari’s La Cleopatra in San Francisco

It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.

An Ideal Cast in Chicago’s Tannhäuser

Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.

Madame Butterfly, Royal Opera

Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.

Tosca in Marseille

Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.

Poetry beyond words — Nash Ensemble, Wigmore Hall

The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.

Arizona Opera Presents Magritte Style Magic Flute

On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.

Henry Purcell: A Retrospective

There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.

Die Meistersinger and The Indian Queen
at the ENO

It has been a cold and gray winter in the south of France (where I live) made splendid by some really good opera, followed just now by splendid sunshine at Trafalgar Square and two exquisite productions at English National Opera.

Rise and Fall of the City of Mahagonny, Royal Opera

At long last, Rise and Fall of the City of Mahagonny has come to the Royal Opera House. Kurt Weill’s teacher, Busoni, remains scandalously ignored, but a season which includes house firsts both of this opera and Szymanowsi’s King Roger, cannot be all bad.

How to Write About Music: The RILM Manual of Style

RILM Abstracts of Music Literature is an international database for musicological and ethnomusicological research, providing abstracts and indexing for users all over the world. As such, RILM’s style guide (How to Write About Music: The RILM Manual of Style) differs fairly significantly from those of more generalized style guides such as MLA or APA.

Unsuk Chin: Alice in Wonderland, Barbican, London

Unsuk Chin’s Alice in Wonderland returned to the Barbican, London, shape-shifted like one of Alice’s adventures. The BBC Symphony Orchestra was assembled en masse, almost teetering off stage, creating a sense of tension. “Eat me, Drink me”. Was Lewis Carroll on hallucinogens or just good at channeling the crazy world of the subconscious?

Welsh National Opera: The Magic Flute and Hansel and Gretel

Dominic Cooke’s 2005 staging of The Magic Flute and Richard Jones’s 1998 production of Hansel and Gretel have been brought together for Welsh National Opera’s spring tour under the unifying moniker, Spellbound.

A worthy tribute for a vocal seductress of the ancient régime

Carolyn Sampson has long avoided the harsh glare of stardom but become a favourite singer for “those in the know” — and if you are not one of those it is about time you were.

Double bill at Guildhall

Gaetano Donizetti and Malcolm Arnold might seem odd operatic bedfellows, but this double bill by the Guildhall School of Music and Drama offered a pair of works characterised by ‘madness, misunderstandings and mistaken identity’ which proved witty, sparkling and imaginatively realised.

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.

OPERA TODAY ARCHIVES »

Reviews

Clive Bayley as Duke Bluebeard and Michaela Martens as Judith [Photo by Johan Persson courtesy of English National Opera]
10 Nov 2009

Duke Bluebeard’s Castle at ENO

This grueling production of Bartok’s operatic masterpiece, Duke Bluebeard’s Castle, clearly did not set out to retain any of the ambiguity and mystery of the fairytale which inspired it.

Béla Bartók: Duke Bluebeard’s Castle

Bluebeard: Clive Bayley; Judith: Michaela Martens. Director: Daniel Kramer. Conductor: Edward Gardner. English National Opera, Coliseum, London. Friday 6th November 2009.

Double bill with Igor Stravinsky: The Rite of Spring. Fabulous Beast Dance Theatre. Choreographer: Michael Keegan-Dolan.

Above: Clive Bayley as Duke Bluebeard and Michaela Martens as Judith [Photo by Johan Persson courtesy of English National Opera]

 

Perhaps it’s a question of the difference between terror and horror? Should you aim to make your audience feel the evil, to imagine the chilling frisson of fear or pain; or should you force evermore gory excesses straight down their throats until they’re practically choking with nausea? Director Daniel Kramer clearly believed that unless shock followed blow followed repulsion, we might miss the point of this production … which was, presumably, to show that we live in gothic times, to paraphrase Angela Carter, whose own fabulous take on the myth, the short story ‘The Bloody Chamber’, is enriched by an ironic subversion entirely absent here.

What lies behind Bluebeard’s seven closed doors is a mystery, albeit one cloaked in disquieting rumour and dread. But the only moment of mystery and wonder in this production occurred in the opening filme noire ‘preface’: a single street lamp cast a mournful tinge of illumination on a solitary door, an invitation to venture into the unknown, into one’s own psychological darkness. (But, why omit Bartok’s prologue?) Clever use of a revolve whirled a passionate, eager Judith and her unpredictable new husband to the subterranean depths of his black, brooding mansion. Once there, all was revealed: this was a reconstruction of the ‘Amstetten House of Horror’, Josef Fritzl’s ghastly ‘playground’, a place of claustrophobic confinement, sexual cruelty, incestuous rape. And, if we were still in any doubt, the appearance of the family von Trapp, perfectly graded by height and representing Bluebeard’s ‘dominions’, sealed our understanding. It would be unfair to suggest that Kramer believes sexual perversion and pedophilia are peculiarly Austrian problems — Fred West and Jack the Ripper also insinuated their way into the picture — but you get the idea …

‘Bluebeard’, like so many ‘moral tales’, reveals the fatal effects of female curiosity. Here, Judith, performed by American mezzo soprano Michaela Martens, certainly began in Eve-like fashion, clutching passionately at the cold, forbidding Bluebeard. Martens was reliable and convincing, both musically and dramatically, and sang with a directness most fitting for Bartok’s folk-inspired style. Sadly, her articulation of the text was less particular. By contrast, every word of Clive Bayley’s expertly shaped and powerfully projected phrases rang true and clear. This was a wonderful performance; at times Chaplinesque in his self-delusions, elsewhere hinting at a rueful acceptance of his pathological isolation (which revealed the singer’s, if not the director’s, appreciation of the central aspect of the role), Bayley was transformed from unwilling husband to exultant dictator, as the doors which Judith insists on opening divulge the extent of his tyranny and power.

There was, however, little visual magic as the hidden recesses of this twilight world were disclosed; indeed, the whole revelation threatened to grind to a halt, when a stuttering sliding panel shuddered and jolted, requiring a helping hand from Bayley in order to expose a garden of graves. Blood dripped from the walls, Bluebeard raced gleefully about on an appropriately phallic miniature cannon, but it was left to the musical fabric to evoke an aura of ghastly awe and wonder as the ‘glories’ of Bluebeard’s sunken treasuries and torture chambers are laid before us. This was a scintillating reading by Edward Gardner of Bartok’s violent, graphic score — it told us all we needed to know about the psychological landscape before us. Expertly paced, the climaxes were judged to perfection; the blazing nobility of the off-stage brass conjured the dazzling majesty of Bluebeard’s territorial claims, even as the ‘Julie Andrews line-up’ punctured the effect. One could shut one’s eyes and appreciate all the nuances of human behaviour captured by Bartok, from cruelty to joy, from love to loneliness, a palette which was reduced by Kramer to sadism and sensationalism.

Despite these strong vocal and orchestral performances, the accumulation of visual excess eventually became tiresome; no wonder there was a stunned silence after the final tableau — Bluebeard, thrusting a gleaming phallic sword between the splayed legs of three prostrate prostitutes. Bluebeard’s crimes should gnaw at our own fears — that’s the point of Perrault’s seventeenth-century tale, to warn us of the consequences of indulging our darkest urges. But most people don’t imprison their children in sunless dungeons, or maim and murder for sexual gratification, and rather than a sense of unease and restlessness, this production simply left a nasty taste.

Claire Seymour

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):