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

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):