Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Armida in Pesaro

Armida (1817) is the third of Rossini’s nine operas for the Teatro San Carlo in Naples, all serious. The first was Elisabetta, regina di Inghilterra (1815), the second was Otello (1816), the last was Zelmira (1822).

Santa Fe Opera Presents an Imaginative Carmen

Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.

Elgar Sea Pictures : Alice Coote, Mark Elder Prom 31

Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.

Berio Sinfonia, Shostakovich, BBC Proms

Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.

Four countertenors : Handel Rinaldo Glyndebourne

Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.

Santa Fe Opera Presents The Impresario and Le Rossignol

On August 7, 2014, the Santa Fe Opera presented a double bill of Wolfgang Amadeus Mozart’s The Impresario and Igor Stravinsky’s Le Rossignol (The Nightingale). The Impresario deals with the casting of an opera and Le Rossignol tells the well-known fairy tale about the plain gray bird with an exquisite song.

Barber in the Beehive State

Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.

Stravinsky : Oedipus Rex, BBC Proms

In typical Proms fashion, BBC Prom 28 saw Stravinsky's Oedipus Rex performed in an eclectic programme which started with Beethoven's Egmont Overture and also featured Electric Preludes by the contemporary Australian composer Brett Dean. Sakari Oramo,was making the first of his Proms appearances this year, conducting the BBC Symphony Orchestra, BBC Singers and BBC Symphony Chorus.

Santa Fe Opera Presents a Passionate Fidelio

Santa Fe Opera presented Beethoven’s Fidelio for the first time in 2014. Since the sides of the opera house are open, the audience watched the sun redden the low hanging clouds and set below the Sangre de Cristo mountains while Chief Conductor Harry Bicket led the Santa Fe Opera Orchestra in the rousing overture. At the same time, Alex Penda as the title character readied herself for the ordeal to come as she endeavored to rescue her unjustly imprisoned husband.

Die Entführung aus dem Serail @ Hangar-7

We see the characters first in two boxes at an opera house. The five singers share a box and stare at the stage. But Konstanze’s eye is caught by a man in a box opposite: Bassa Selim (actor Tobias Moretti), who stares steadily at her and broods in voiceover at having lost her, his inspiration.

Rameau Grand Motets, BBC Proms

Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17.

Adriana Lecouvreur, Opera Holland Park

Twelve years after Opera Holland Park's first production of Francesco Cilea’s Adriana Lecouvreur, the opera made a welcome return.

Back to the Beginnings: Monteverdi’s Il ritorno d’Ulisse in patria at Iford Opera.

The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre.

Schoenberg : Moses und Aron, Welsh National Opera, London

Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission.

Count Ory, Dead Man Walking
and La traviata in Des Moines

If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.

Janáček’s Glagolitic Mass, BBC Proms

Composed during just a few weeks of the summer of 1926, Janáček’s Slavonic-text Glagolitic Mass was first performed in Brno in December 1927.

Donizetti and Mozart, Jette Parker Young Artists Royal Opera House, London

With the conclusion of the ROH 2013-14 season on Saturday evening - John Copley’s 40-year old production of La Bohème bringing down the summer curtain - the sun pouring through the gleaming windows of the Floral Hall was a welcome invitation to enjoy a final treat. The Jette Parker Young Artists Summer Showcase offered singers whom we have admired in minor and supporting roles during the past year the opportunity to step into the spotlight.

Glyndebourne's Strauss Der Rosenkavalier, BBC Proms

Many words have already been spent - not all of them on musical matters - on Richard Jones’s Glyndebourne production of Der Rosenkavalier, which last night was transported to the Royal Albert Hall. This was the first time at the Proms that Richard Strauss’s most popular opera had been heard in its entirety and, despite losing two of its principals in transit from Sussex to SW1, this semi-staged performance offered little to fault and much to admire.

First Night of the BBC Proms : Elgar The Kingdom

The BBC Proms 2014 season began with Sir Edward Elgars The Kingdom (1903-6). It was a good start to the season,which commemorates the start of the First World War. From that perspective Sir Andrew Davis's The Kingdom moved me deeply.

Le nozze di Figaro, Munich

One is unlikely to come across a cast of Figaro principals much better than this today, and the virtues of this performance indeed proved to be primarily vocal.

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):