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

Dolora Zajick Premieres Composition

At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.

Gluck: Orfeo ed Euridice

This elegant, smartly-paced film turns Gluck’s Orfeo into a Dostoevskian study of a guilt-wracked misanthrope, portrayed by American countertenor Bejun Mehta.

Aureliano in Palmira in Pesaro

Ossia Il barbiere di Siviglia. Why waste a good tune.

Britten War Requiem - Andris Nelsons, CBSO, BBC Prom 47

In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.

Il barbiere di Siviglia in Pesaro

Both by default and by merit Il barbiere di Siviglia is the hit of the thirty-fifth Rossini Opera Festival. But did anyone really want, and did the world really need yet another production of this old warhorse?

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.

OPERA TODAY ARCHIVES »

Reviews

Nadja Michael as Salome [Photo by Terrence McCarthy courtesy of San Francisco Opera]
09 Nov 2009

Salome in San Francisco

If Herbert von Karajan conducted Madama Butterfly and Maria Callas sang Isolde it follows that Nicola Luisotti should conduct Salome.

Richard Strauss: Salome

Salome: Nadja Michael; Herodias: Irina Mishura; Herod: Kim Begley; Jokanaan: Greer Grimsley; Narraboth: Garrett Sorenson; A page: Elizabeth DeShong; First Jew: Beau Gibson; Second Jew: Robert MacNeil; Third Jew: Matthew O’Neill; Fourth Jew: Corey Bix; Fifth Jew: Jeremy Milner; First Soldier: Andrew Funk; Second Soldier: Bojan Knezevic; First Nazarene: Julien Robbins; Second Nazarene: Austin Kness; Cappodocian: Kenneth Kellogg; Slave: Renée Tatum. Conductor: Nicola Luisotti. Director: Seán Curran. Consulting Director/Dramaturg: James Robinson. Production Designer: Bruno Schwengl.

Above: Nadja Michael as Salome [Photo by Terrence McCarthy courtesy of San Francisco Opera]

 

And that is exactly what he did at San Francisco Opera just now where he is the incoming music director, and therefore can conduct what he pleases. No reduced orchestration for this maestro, the ninety-one players stuffed into the War Memorial pit made a mighty sound, a mighty opulent one.

Mo. Luisotti sought the sonic richness of this early Strauss score rather than its burgeoning sexuality and exploding nervousness. The psychological penetration that is Strauss’ discovery in Salome may not yet have become the orchestral maelstrom that bares Elektra’s tortured soul, nonetheless Strauss is dealing with a pantheon of unstable personalities who enact a very sexual, personal and finally very ugly story. Strauss obliges with music that is sometimes sensual and sometimes ugly, but always personal — after all it marks a difficult passage and consequent loss of innocence. Mo. Luisotti opted to make it all beautiful.

It is an unabashedly lush score, as Mo. Luisotti helped us discover as never before. He caressed its musical lines that evoked the opera’s evening setting, the rising moon and the overwhelming grandeur and power of the word of God. His lions roared and his dogs barked and Herodias raged. But Luisotti did not discover the delicate sensuousness with which Strauss enveloped Salome, nor the desperate lust and self doubt that tortured Herod, or the sense of impending doom that hangs on every word of the text.

Luisotti version of Strauss’ first great opera was supported by the production imported from the Opera Theatre of St. Louis, the stage a vista (open to view) when we entered the auditorium, the soldiers, Jews, Nazarenes, were milling around as they did the entire evening, making Salome’s sexual awakening a public spectacle rather than a personal drama. But these onlookers did not seem to know quite what to do or think as they stood around. We were kept waiting for them to react but they never did.

One of several daunting challenges facing a Salome stage director is the extended length of its dance of seven veils. The Opera Theatre of St. Louis production sought to solve this problem by engaging a choreographer, Seán Curran, to stage the opera. His solution was to impose an unrelenting formalized ritual, ten minutes of abstract choreography whose sensuality was limited to the flowing geometry of five or six squares of silk pulled through the air by a pair of eunuchs. The final shock of Strauss’ dance was eviscerated by completely covering Salome with silk veils so that, as we found out, she could make a quick change into a gold, vaguely Klimpt-essque gown for her orgy with John the Baptist’s severed head.

The setting too, by Bruno Schwengl, was unrelentingly geometric, a hard edge rectangular box disappearing into an exaggerated one point perspective that the supertitles called a vault and the libretto calls a cistern, but in this production it was really the most private part of the female anatomy, with an opening that expanded and contracted just like the real thing (honest to God). Gratuitously symbolic except that when the executioner entered it and Luisotti’s pit made its super exaggerated slicing noises the effect was a virtual hymenectomy. It was flat out gross.

But John the Baptist was not really inside the vault. When he was to have been heard from the cistern/vault he was actually off-stage down left singing through a sousaphone bell. His voice was weirdly loud over there on the side, very far away from where it was supposed to be (upstage center), and could have been had modern electronic technology been allowed to do its magic.

There were some fine performances on October 21 (the second one), particularly Nadia Michael as Salome, certainly one of the more resplendent of our current Salomes, her youthful figure able to embody a vocally well drawn character, with reserves of gorgeous tone sufficient to soar above the massive Strauss orchestral climaxes. We may miss the neurotic tinges awarded this complex role by Anna Silja and Maria Ewing, and the uncanny histrionics perpetrated by Leonie Rysanek (all former San Francisco Opera Salomes) but we did profit from Mme. Michael’s more even temperament as she did her best, a good trouper, to go along with this hapless production.

Reportedly in the fourth of the six performances her stamina waned, and she then bowed out of the fifth performance. Molly Fillmore was brought in at the very last moment from Arizona Opera where she is rehearsing the role (according to SFO general director David Gockley’s front of curtain announcement). While those of us there that evening must be grateful to Mme. Fillmore for the obvious heroics necessary to get through the performance, we can question San Francisco Opera’s lack of an adequate cover in what were foreseen circumstances.

Greer Grimsley gave his brief on-stage performance as Jokanaan splendidly, blinded by light delivering his confrontation with Salome with genuine fervor and horror, his curse ringing in our ears. Russian mezzo-soprano Irina Mishura gave a fully sung, lurid account of Herodias that was intense and chilling, as it should be and so rarely is.

British tenor Kim Begley is not a big enough performer to bring Herod as horridly alive as he should be. One remembers Mr. Begley as a fine, sympathetic Narraboth, this role in this production taken by Garret Sorenson who made no effect in what can be a most affecting role. Perhaps both Mr. Begley and Mr. Sorenson were betrayed by the conducting and production, thus exonerating them from blame for their pale performances.

With staging entrusted to a choreographer there was much smooth movement. Overall the effect was in fact choreography rather than staging, except in the complex ensemble scenes when staging reverted to textbook procedures.

Michael Milenski

[Click here for additional production information and photo gallery.]

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):