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

Bartoli a dream Cenerentola in Amsterdam

With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.

Winterreise : a parallel journey

Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.

Anna Bolena in Lisbon

Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.

Oh, What a Night in San Jose

It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.

Billy Budd in Madrid

Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.

A riveting Nixon in China at the Concertgebouw

American composer John Adams turns 70 this year. By way of celebration no less than seven concerts in this season’s NTR ZaterdagMatinee series feature works by Adams, including this concert version of his first opera, Nixon in China.

English song: shadows and reflections

Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.

A charming Pirates of Penzance revival at ENO

'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.

A Relevant Madama Butterfly

On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.

Johan Reuter sings Brahms with Wiener Philharmoniker

In the last of my three day adventure, I headed to Vienna for the Wiener Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.

Gatti and the Royal Concertgebouw Orchestra Head to Asia

In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the Royal Concertgebouw, Daniele Gatti, came together for their first engagement in a ravishing performance of Berg’s Violin Concerto.

Verdi’s Requiem with the Berliner Philharmoniker

I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and Wiener Philharmoniker, to hear these three top orchestra perform their series programmes opening the New Year.

Jeanne d'Arc au bûcher in Lyon

There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.

A New Look at Mozart’s Abduction from the Seraglio

On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.

Giasone in Geneva

Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.

Falstaff in Genoa

A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.

Traviata in Seattle

One of Aidan Lang’s first initiatives as artistic director of Seattle Opera was to encourage his board to formulate a “mission statement” for the fifty-year old company. The document produced was clear, simple, and anodyne. Seattle Opera would aim above all to create work appealing both to the emotions and reason of the audience.

Wagner at the Deutsche Oper Berlin Part II: Kasper Holten’s angelic Lohengrin

Contrary to Stolzi’s multidimensional Parsifal, Holten’s simple setting of Lohengrin felt timeless with its focus on the drama between characters. Premiering in 2012, nothing too flashy and with a clever twist,

Wagner at the Deutsche Oper Berlin Part I: Stölzl’s Psychedelic Parsifal

Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner productions. This Fall, its productions of Philipp Stölzl's Parsifal and Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it comes down to last minute replacements, the casting is topnotch.

Donna abbandonata: Temple Song Series

Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.

OPERA TODAY ARCHIVES »

Reviews

Adrianne Pieczonka as Elsa [Photo by Felix Sanchez courtesy of Houston Grand Opera]
11 Nov 2009

Lohengrin in Houston: A long-awaited return

Wagner was last on stage in Houston’s Wortham Theater Center in 2001, when the Houston Grand Opera staged Tannhäuser.

Richard Wagner: Lohengrin

Simon O'Neill: Lohengrin; Adrianne Pieczonka: Elsa of Brabant; Günther Groissböck: King Henry the Fowler; Richard Paul Fink: Frederick of Telramund; Christine Goerke: Ortrud; Ryan McKinny: King's Herald. Houston Grand Opera Orchestra and Chorus. Patrick Summers: Conductor. Daniel Slater: Production Stage Director.

Above: Adrianne Pieczonka as Elsa

Photos by Felix Sanchez courtesy of Houston Grand Opera

 

That production brought down the curtain on a decade that was a Golden Age for German opera at the HGO. During the previous dozen years Wagner was on stage at the Wortham in nine seasons and Richard Strauss in two.

There was a reason for this richness — and for the dearth that followed. Those were the banner years when Christoph Eschenbach was music director of the Houston Symphony. Not only did he conduct Wagner and Strauss at the HGO; he brought his orchestra into the pit at the Wortham for these performances. Years of transition followed that marked a period of maturation for both the HGO and the HSO. As they grew in quality and significance, the Opera was challenged to build its own ensemble.

Thus the production of Lohengrin that opened at the Wortham on November 30 was not only a “long-awaited return,” as HGO music director Patrick Summers described it in an erudite note in the Lohengrin program. It was further a milestone in the history of the company and in the career of Summers, HGO music director since 1989.

It was to Summers that the building of an opera orchestra was assigned, and — as was gloriously apparent in the new Lohengrin — he has done this with impressive success. Indeed, the hushed celestial silver of the violins that opens the Overture shimmered in warmth as they ascended to the unashamedly erotic heights that launch the first act of the work.

The profound feeling that Summers brought to the Overture and all that followed made it difficult to believe that this was the first complete Wagner opera that he has conducted. All this distinguished this new Lohengrin as a turning point in the history of the 54-year-old HGO. Evaluation of the production itself is a more difficult matter.

This was also the first Wagner for director Daniel Slater and designer Robert Innes Hopkins and one can only wish that their work had been on the same level as Summer’s achievement with the orchestra. Such — alas — was not the case. The two badly overshot their mark in an arsenal of effects the sum of which was far less than their collected value.

In this co-production with Switzerland’s Grand Théâtre de Genève, where the staging debuted in 2007, the British collaborators were perhaps a bit too eager to try their hand at what is known on the continent as Regieoper, the approach that allows the production team free rein in the liberties it takes with what the composer once regarded as a finished work. (The result is often summed up as “Eurotrash.”) Gone — along with the traditional swan — was the knightly medievalism that is traditionally the historic background of Lohengrin.

Lohengrin_Houston_04.gifSimon O’Neill (Lohengrin) and Adrianne Pieczonka (Elsa)

Act One opened in a cavernous library, obviously long neglected. Uniforms — for those old enough to remember them — recalled Eastern Europe in its totalitarian bad days. Things get worse as troops viciously tore books from shelves, recalling — again for those with knowledge of early 20th-century history — the Nazi book burning in Berlin when Hitler came to power. (That conflagration was staged, incidentally, on the square adjacent to the Staatsoper on historic Unter den Linden.)

Simon O’Neill, whose grubby dress, hair and demeanor bore little resemblance to the man in shining armor that Lohengrin, this Knight of the Grail, is supposed to be. O’Neill was vocally disappointing as well, for — although his voice is of some power — it lacks warmth and shading. Indeed, his performance was largely monochromatic.

The Elsa was Canada’s Adrianne Pieczonka, praised throughout Europe today for her interpretation of the women created by Wagner and Richard Strauss. In Act One Pieczonka’s voice seemed a trifle two mature for innocent Elsa, but in Act Two she was a perfect match for Christine Goerke, whose Ortrud was the glory of this staging.

Although Goerke, long an established Wagnerian, might have sued designer Hopkins for the dreadful green cocktail dress in which she first appeared, she soon proved herself the strongest member of this cast, stressing that behind every evil man there is an even more evil woman.

Lohengrin_Houston_03.gifRichard Paul Fink (Friedrich of Telramund) and Christine Goerke (Ortrud)

Richard Paul Fink, long the world’s most sinister Alberich in Wagner’s Ring and the creator of Mephistophelean Edward Teller in John Adams’ Doctor Atomic, was a natural as Ortrud’s partner in malice. However, one expected a more significant voice than bass Günther Groissbock brought to King Heinrich. Supporting roles were impressively sung by HGO studio artists.

Lohengrin contains Wagner’s greatest choruses, and HGO chorus master Richard Bado brought home that no American company has a better choral ensemble than Houston. Although the ludicrous aspects of the staging did not necessary detract from the musical excellence of the production, a concert performance by Summers and his forces would have been more satisfactory. The good news associated with this production is that the HGO henceforth promises a German opera — Wagner, Strauss or Beethoven — in each future season.

“Now,” Summers concludes, “HGO rejoins a perpetual journey into one of history’s true, if disquieting visionaries.”

Wes Blomster

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):