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

Emmanuel Chabrier L’Étoile — Royal Opera House London

Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.

Robert Ashley’s Quicksand at the Kitchen

Robert Ashley’s opera-novel Quicksand makes for a novel experience

Premiere of Raskatov’s Green Mass

One of the leading Russian composers of his generation, Alexander Raskatov’s reputation in the UK and western Europe derives from several, recent large-scale compositions, such as his reconstruction of Alfred Schnittke’s Ninth Symphony from a barely legible manuscript (the work was first performed in 2007 in the Dresden Frauenkirche by the Dresden Philharmonic under Dennis Russell Davies), and his 2010 opera A Dog’s Heart, based on Mikhail Bulgakov’s satire (which was directed by Simon McBurney at English National Opera in 2010, following the opera’s premiere at Netherlands Opera earlier that year).

Orpheus in the Underworld, Opera Danube

I’m not sure that St John’s Smith Square was the most appropriate venue for Opera Danube’s latest production: Jacques Offenbach’s satirical frolic, Orpheus in the Underworld.

Lady Macbeth of Mtsensk in Lyon

This nasty little opera evening in Lyon lived up to the opera’s initial reputation as pure pornophony. This is the erotic Shostakovich of the D minor cello sonata, it is the sarcastic and complicated Shostakovich of The Nose . . .

Bel Canto: A World Premiere at Lyric Opera of Chicago

During December 2015 and presently in January Lyric Opera of Chicago has featured the world premiere of the opera Bel Canto, with music by Jimmy López and libretto by Nilo Cruz, based on the novel by Ann Patchett.

Tosca, Royal Opera

Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.

Lianna Haroutounian resplendent in Madama Butterfly at the Concertgebouw

The title role is a deciding factor in Madama Butterfly. Despite a last-minute conductor cancellation, last Saturday’s concert performance at the Concertgebouw was a resounding success, thanks to Lianna Haroutounian’s opulent, heart-stealing Cio-Cio-San.

Classical Opera: MOZART 250 — 1766: A Retrospective

With this performance of vocal and instrumental works composed by the 10-year-old Mozart and his contemporaries during 1766, Classical Opera entered the second year of their 27-year project, MOZART 250, which is designed to ‘contextualise the development and influences of [sic] the composer’s artistic personality’ and, more audaciously, to ‘follow the path that subsequently led to some of the greatest cornerstones of our civilisation’.

Benjamin Appl — Schubert, Wigmore Hall London

Luca Pisaroni and Wolfram Rieger were due to give the latest installment in the Wigmore Hall's complete Schubert songs series, but both had to cancel at short notice. Fortunately, the Wigmore Hall rises to such contingencies, and gave us Benjamin Appl and Jonathan Ware. Since there's a huge buzz about Appl, this was an opportunity to hear more of what he can do.

Ferrier Awards Winners’ Recital

The phrase ‘Sunday afternoon concert’ may suggest light, post-prandial entertainment, but soprano Gemma Lois Summerfield and her accompanist, Simon Lepper, swept away any such conceptions in this demanding programme at St. John’s Smith Square.

Pelléas et Mélisande at the Barbican

When, o when, will someone put Peter Sellars and his compendium of clichés out of our misery?

Samuel Barber: Choral Music

This recording, made in the Adrian Boult Hall at the Birmingham Conservatoire of Music in June 2014, is the fourth disc in SOMM’s series of recordings with Paul Spicer and the Birmingham Conservatoire Chamber Choir.

L'Arpeggiata: La dama d’Aragó, Wigmore Hall

Having recently followed some by-ways through the music of Purcell, Monteverdi and Cavalli, L’Arpeggiata turned the spotlight on traditional folk music in this characteristically vibrant and high-spirited performance at the Wigmore Hall.

Tippett : A Child of Our Time, London

Edward Gardner brought all his experience as a choral and opera conductor to bear in this stirring performance of Michael Tippett’s A Child of Our Time at the Barbican Hall, with a fine cast of soloists, the BBC Symphony Orchestra and BBC Symphony Chorus.

Taverner and Tavener, Fretwork, London

‘Apt for voices or viols’: eager to maximise sales among the domestic market in Elizabethan England, publishers emphasised that the music contained in collections such as Thomas Morley’s First Book of Madrigals to Four Voices of 1594 was suitable for performance by any combination of singers and players.

Fall of the House of Usher in San Francisco

It was a single title but a double bill and there was far more happening than Gordon Getty and Claude Debussy. Starting with Edgar Allen Poe.

The Merry Widow at Lyric Opera of Chicago

For its latest production of the current season Lyric Opera of Chicago is presenting Franz Lehár’s The Merry Widow (Die lustige Witwe) featuring Renée Fleming /Nicole Cabell as the widow Hanna Glawari and Thomas Hampson as Count Danilo Danilovich.

Kindred Spirits: Cecilia Bartoli and Rolando Villazón at the Concertgebouw

Mezzo-soprano Cecilia Bartoli has been a regular favourite at the Concertgebouw in Amsterdam since 1996. Her verastile concerts are always carefully constructed and delivered with irrepressible energy and artistic commitment.

Cav/Pag at Royal Opera

When Italian director Damiano Michieletto visited Covent Garden in June this year, he spiced Rossini’s Guillaume Tell with a graphic and, many felt, gratuitous rape scene that caused outrage and protest.

OPERA TODAY ARCHIVES »

Reviews

Franz Schubert: Fierrabras
11 Nov 2009

Schubert: Fierrabras

The worlds of lieder and opera seem to share the same galaxy, while being countless light years apart.

Franz Schubert: Fierrabras

Franz Welser-Möst, Zurich Opera House Orchestra, Chor des Opernhauses Zürich

EMI Classics 5099950096992 [DVD]

$22.49  Click to buy

There is no greater name in lieder composition than that of Franz Schubert, and he desperately wanted to make a name for himself as a composer of opera as well. However, his operatic efforts met only with indifference or outright failure in his lifetime - as so much of his great body of work did. After his death, much of his chamber, symphonic, and lieder works achieved masterpiece status, whereas his theatrical works remain obscure.

In late 2005 the Zurich Opera House chose Claus Guth to stage Schubert’s setting of a libretto by Josef Kupelwieser, Fierrabras. Not only did Schubert never see this opera staged, but Richard Lawrence attests, in his abbreviated but informative booklet note, that the work remained unstaged until 1988. Lawrence attempts a brief synopsis of the plot, but neither the discs themselves nor the booklet have any kind of detailed synopsis, and truthfully, watching this very long opera, particularly in Guth’s abstract, uni-set staging, does little to communicate the narrative. Suffice it to say, we are in, as Lawrence writes, “a medieval never-never land,” and heroes suffer, their lovers suffer, the chorus suffers, until a joyful conclusion does what it can to erase the memory of all that suffering.

A libretto as hopeless as this gives a creative director a lot of room for innovative staging. Guth builds his production around a Schubert lookalike, both observing and sometimes interacting with the principals, with the drama played out in a parlor setting. Presumably that is Schubert’s piano for composition dangling from the ceiling. Dress is contemporaneous with Schubert’s era. Guth and set/costume designer Christian Schmidt manage to keep the stage picture varied and active, but in foregoing any sense of naturalistic action, the relationships and plot points get lost. The result is an elaborate concert presentation. At 171 minutes spread over two discs, it’s a long show, and some viewers may feel impatience with the static narrative and Guth’s stylization. The attenuated curtain calls suggest as much even for the live audience. As with his score to Alfonso und Estrella, Schubert’s melodic gift doesn’t reach the heights of his greatest pieces in Fierrabras, but the music is consistently appealing and often quite imaginative. Franz Welser-Möst emphasizes the drama of the score, perhaps trying to supply more excitement than the libretto manages to deliver. A little more variety of texture could be desired, but the Zurich Opera House forces play the score with expert authority.

Fans of rising tenor Jonas Kaufmann should not get too excited to see his name in the title role, as the character of Fierrabras disappears for much of the action, especially in the latter half of the opera. Nonetheless, his handsome presence and warm delivery give evidence of his appeal. Twyla Robinson and Juliane Banse both have to bewail their fates at extended length, with Robinson managing to do so with a more interesting voice of considerable size. Michael Volle as the Roland of legend and Christoph Strehl partner their ladies well. Lászlo Polgár strides the stage as the King, sometimes clambering onto an oversize chair as his throne. His voice provides sufficient regal command.

EMI Classics bare-bones packaging omits any track listing or information beyond the Lawrence essay and the usual “back cover” credits. Anyone who has gone begging for a DVD of Fierrabras, however, can’t be a chooser. This well-sung set, with take-it-or-leave-it direction, will have to do.

Chris Mullins

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):