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

Choral at Cadogan: The Tallis Scholars open a new season

As The Tallis Scholars processed onto the Cadogan Hall platform, for the opening concert of this season’s Choral at Cadogan series, there were some unfamiliar faces among its ten members - or faces familiar but more usually seen in other contexts.

Stars of Lyric Opera 2017, Millennium Park, Chicago

As a prelude to the 2017-18 season Lyric Opera of Chicago presented its annual concert, Stars of Lyric Opera at Millennium Park, during the last weekend. A number of those who performed in this event will be featured in roles during the coming season.

A Verlaine Songbook

Back in the LP days, if a singer wanted to show some sophistication, s/he sometimes put out an album of songs by famous composers set to the poems of one poet: for example, Phyllis Curtin’s much-admired 1964 disc of Debussy and Fauré songs to poems by Verlaine, with pianist Ryan Edwards (available now as a CD from VAI).

Die Zauberflöte at the ROH: radiant and eternal

Watching David McVicar’s 2003 production of Die Zauberflöte at the Royal Opera House - its sixth revival - for the third time, I was struck by how discerningly John MacFarlane’s sumptuous designs, further enhanced by Paule Constable’s superbly evocative lighting, communicate the dense and rich symbolism of Mozart’s Singspiel.

Fantasy in Philadelphia: The Wake World

Composer and librettist David Hertzberg’s magical mystery tour that is The Wake World opened to a cheering sold out audience that was clearly enraptured with its magnificent artistic achievement.

A Mysterious Lucia at Forest Lawn

On September 10, 2017, Pacific Opera Project (POP) presented Gaetano Donizetti’s Lucia di Lammermoor in a beautiful outdoor setting at Forest Lawn. POP audiences enjoy casual seating with wine, water, and finger foods at each table. General and Artistic Director Josh Shaw greeted patrons in a “blood stained” white wedding suit. Since Lucia is a Scottish opera, it opened with an elegant bagpipe solo calling members of the audience to their seats.

This is Rattle: Blazing Berlioz at the Barbican Hall

Blazing Berlioz' The Damnation of Faust at the Barbican with Sir Simon Rattle, Bryan Hymel, Christopher Purves, Karen Cargill, Gabor Bretz, The London Symphony Orchestra and The London Symphony Chorus directed by Simon Halsey, Rattle's chorus master of choice for nearly 35 years. Towards the end, the Tiffin Boys' Choir, the Tiffin Girls' Choir and Tiffin Children's Choir (choirmaster James Day) filed into the darkened auditorium to sing The Apotheosis of Marguerite, their voices pure and angelic, their faces shining. An astonishingly theatrical touch, but absolutely right.

Moved Takes on Philadelphia Headlines

There‘s a powerful new force in the opera world and its name is O17.

Philly Flute’s Fast and Furious Frills

If you never thought opera could make your eyes cross with visual sensory over load, you never saw Opera Philadelphia’s razzle-dazzle The Magic Flute.

At War With Philadelphia

Enterprising Opera Philadelphia has included a couple of intriguing site-specific events in their O17 Festival line-up.

The Mozartists at the Wigmore Hall

Three years into their MOZART 250 project, Classical Opera have launched a new venture, The Mozartists, which is designed to allow the company to broaden its exploration of the concert and symphonic works of Mozart and his contemporaries.

Philadelphia: Putting On Great Opera Can Be Murder

Composer Kevin Puts and librettist Mark Campbell have gifted Opera Philadelphia (and by extension, the world) with a crackling and melodious new stage piece, Elizabeth Cree.

Mansfield Park at The Grange

In her 200th anniversary year, in the county of her birth and in which she spent much of her life, and two days after she became the first female writer to feature on a banknote - the new polymer £10 note - Jane Austen’s Mansfield Park made a timely appearance, in operatic form, at The Grange in Hampshire.

Elektra in San Francisco

Among the myriad of artistic innovation during the Kurt Herbert Adler era at San Francisco Opera was the expansion of the War Memorial Opera House pit. Thus there could be 100 players in the pit for this current edition of Strauss’ beloved opera, Elektra!

Mark Padmore on festivals, lieder and musical conversations

I have to confess, somewhat sheepishly, at the start of my conversation with Mark Padmore, that I had not previously been aware of the annual music festival held in the small Cotswolds town of Tetbury, which was founded in 2002 and to which Padmore will return later this month to perform a recital of lieder by Schubert and Schumann with pianist Till Fellner.

Turandot in San Francisco

Mega famous L.A. artist David Hockney is no stranger at San Francisco Opera. Of his six designs for opera only the Met’s Parade and Covent Garden’s Die Frau ohne Schatten have not found their way onto the War Memorial stage.

The School of Jealousy: Bampton Classical Opera bring Salieri to London

In addition to fond memories of previous beguiling productions, I had two specific reasons for eagerly anticipating this annual visit by Bampton Classical Opera to St John’s Smith Square. First, it offered the chance to enjoy again the tunefulness and wit of Salieri’s dramma giocoso, La scuola de’ gelosi (The School of Jealousy), which I’d seen the company perform so stylishly at Bampton in July.

Richard Jones' new La bohème opens ROH season

There was a decided nip in the air as I made my way to the opening night of the Royal Opera House’s 2017/18 season, eagerly anticipating the House’s first new production of La bohème for over forty years. But, inside the theatre in took just a few moments of magic for director Richard Jones and his designer, Stewart Laing, to convince me that I had left autumnal London far behind.

Giovanni Simon Mayr: Medea in Corinto

The Bavarian-born Johann Simon Mayr (1763–1845) trained and made his career in Italy and thus ended up calling himself Giovanni Simone Mayr, or simply G. S. Mayr. He is best known for having been composition teacher to Giuseppe Donizetti.

Robin Tritschler and Julius Drake open
Wigmore Hall's 2017/18 season

It must be a Director’s nightmare. After all the months of planning, co-ordinating and facilitating, you are approaching the opening night of a new concert season, at which one of the world’s leading baritones is due to perform, accompanied by a pianist who is one of the world’s leading chamber musicians. And, then, appendicitis strikes. You have 24 hours to find a replacement vocal soloist or else the expectant patrons will be disappointed.

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):