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.
On March 24, 2017, Los Angeles Opera revived its co-production of Jacques Offenbach’s The Tales of Hoffmann which has also been seen at the Mariinsky Opera in Leningrad and the Washington National Opera in the District of Columbia.
Ermonela Jaho is fast becoming a favourite of Covent Garden audiences, following her acclaimed appearances in the House as Mimì, Manon and Suor Angelica, and on the evidence of this terrific performance as Puccini’s Japanese ingénue, Cio-Cio-San, it’s easy to understand why. Taking the title role in the first of two casts for this fifth revival of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, Jaho was every inch the love-sick 15-year-old: innocent, fresh, vulnerable, her hope unfaltering, her heart unwavering.
Calliope Tsoupaki’s latest opera, Fortress Europe, premiered as spring began taming the winter storms in the Mediterranean.
To celebrate its 40th anniversary New Sussex Opera has set itself the challenge of bringing together the six scenes - sometimes described as six discrete ‘tone poems’ - which form Delius’s A Village Romeo and Juliet into a coherent musico-dramatic narrative.
Following highly successful UK premières of Salieri’s Falstaff (in 2003) and Trofonio’s Cave (2015), this summer Bampton Classical Opera will present the first UK performances since the late 18th century of arguably his most popular success: the bitter comedy of marital feuding, The School of Jealousy (La scuola de’ gelosi). The production will be designed and directed by Jeremy Gray and conducted by Anthony Kraus from Opera North. The English translation will be by Gilly French and Jeremy Gray. The cast includes Nathalie Chalkley (soprano), Thomas Herford (tenor) and five singers making their Bampton débuts:, Rhiannon Llewellyn (soprano), Kate Howden (mezzo-soprano), Alessandro Fisher (tenor), Matthew Sprange (baritone) and Samuel Pantcheff (baritone). Alessandro was the joint winner of the Kathleen Ferrier Competition 2016.
Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of Leoš Janàček’s 1921 domestic tragedy, and not entirely in a good way.
Applications are now open for the Bampton Classical Opera Young Singers’ Competition 2017. This biennial competition was first launched in 2013 to celebrate the company’s 20th birthday, and is aimed at identifying the finest emerging young opera singers currently working in the UK.
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
Handel’s Partenope (1730), written for his first season at the King’s Theatre, is a paradox: an anti-heroic opera seria. It recounts a fictional historic episode with a healthy dose of buffa humour as heroism is held up to ridicule. Musicologist Edward Dent suggested that there was something Shakespearean about Partenope - and with its complex (nonsensical?) inter-relationships, cross-dressing disguises and concluding double-wedding it certainly has a touch of Twelfth Night about it. But, while the ‘plot’ may seem inconsequential or superficial, Handel’s music, as ever, probes the profundities of human nature.
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
A skewering of the preening pretentiousness of the Pre-Raphaelites and Aesthetes of the late-nineteenth century, Gilbert and Sullivan’s 1881 operetta Patience outlives the fashion that fashioned it, and makes mincemeat of mincing dandies and divas, of whatever period, who value style over substance, art over life.
Irish mezzo-soprano Tara Erraught demonstrated a relaxed, easy manner and obvious enjoyment of both the music itself and its communication to the audience during this varied Rosenblatt Series concert at the Wigmore Hall. Erraught and her musical partners for the evening - clarinettist Ulrich Pluta and pianist James Baillieu - were equally adept at capturing both the fresh lyricism of the exchanges between voice and clarinet in the concert arias of the first half of the programme and clinching precise dramatic moods and moments in the operatic arias that followed the interval.
This Sunday the Metropolitan Opera will feature as part of the BBC Radio 3 documentary, Opera Across the Waves, in which critic and academic Flora Willson explores how opera is engaging new audiences. The 45-minute programme explores the roots of global opera broadcasting and how in particular, New York’s Metropolitan Opera became one of the most iconic and powerful producers of opera.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
Wagner was last on stage in Houston’s Wortham Theater Center in 2001, when the Houston Grand Opera staged Tannhäuser.
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.
Simon 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.
Richard 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.”