06 Dec 2009
A Faust of Distinction at Lyric Opera of Chicago
For its second production of the 2009-10 season Lyric Opera of Chicago staged a revival of Charles Gounod’s Faust, last seen here in 2003-04.
“Hi! I’m at the Wigmore Hall!” American mezzo-soprano Jamie Barton’s exuberant excitement at finding herself performing in the world’s premier lieder venue was delightful and infectious. With accompanist James Baillieu, Barton presented what she termed a “love-fest” of some of the duo’s favourite art songs. The programme - Turina, Brahms, Dvořák, Ives, Sibelius - was also surely designed to show-case Barton’s sumptuous and balmy tone, stamina, range and sheer charisma; that is, the qualities which won her the First and Song Prizes at the 2013 BBC Cardiff Singer of the World Competition.
“If I lacked ears, it would be bad, but still more bearable; but lacking a nose, a man is devil knows what: not a bird, not a citizen—just take and chuck him out the window!”
A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
Francesco Cavalli’s La Calisto was the composer’s ﬁfteenth opera, and the ninth to a libretto by Giovanni Faustini (1615-1651). First performed at the Teatro Sant’Apollinaire in Venice on 28th November 1651, the opera by might have been sub-titled ‘Gods Behaving Badly’, so debauched are the deities’ dalliances and deviations, so egotistical their deceptions.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure, this new production presents the plot as the dying protagonist’s feverish hallucinations. The result is a frosty retelling of what is arguably Puccini’s most hot-blooded opera. Musically, the performance also left much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang bergetar akan terhapus.” (“The transient cannot hold on to stars lost in the Milky Way; that which quivers will be erased.”) As soprano Tony Arnold sang these words of Tony Prabowo’s chamber opera Pastoral, with astonishingly crisp Indonesian diction, the first night of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
New from Oehms Classics, Walter Braunfels Orchestral Songs Vol 1. Luxury singers - Valentina Farcas, Klaus Florian Vogt and Michael Volle, with the Staatskapelle Weimar, conducted by Hansjörg Albrecht.
Manitoba Underground Opera took audiences on a journey — literally and figuratively — as it presented its latest installment of repertory opera between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
For its second production of the 2009-10 season Lyric Opera of Chicago staged a revival of Charles Gounod’s Faust, last seen here in 2003-04.
The assembled cast of principals and the chorus interacted so convincingly — on both vocal and dramatic grounds — that these performances will serve as a benchmark of performing Gounod’s opera for some time to come. Making his Lyric Opera debut in these performances was Piotr Beczala, who has recently sung the role of Faust to much acclaim at a number of European venues. Marguerite was sung by Ana María Martínez, who portrayed a dramatically and lyrically incisive heroine in this her first assumption of the role. René Pape brought his considerable skills to the role of Mephistopheles, and Lucas Meachem made a great impression as a lyrical and committed Valentin.
Even before the action began on stage the orchestra under the direction of Sir Andrew Davis set the tone with a taut, controlled performance of the overture. A carefully conceived balance was achieved between strings, woodwinds, and brass with the harp then leading smoothly into a statement of Valentin’s theme. A reprise of the strings signaled then the ultimate move toward a subdued resolution.
At the start of Act I in this traditional production Faust truly looks both fatigued and aged. In his dusty laboratory corpses lay under sheets, and the newly dead are being carried in to join the others. Faust is surrounded then by death and the futility of knowledge, prompting him hence to consider suicide. His scene beginning on the word “Rien” (“Nothing”) sets the tone of resignation in the doctor’s famous soliloquy. Only the voices of peasants and youths heard from outdoors prevent Faust from drinking a goblet filled with poison to end his life in desperation. Still these glimmers of happiness and reminders of God’s bounty cause Faust only to curse human endeavor and to cry out for the support of Satan (“Satan à moi!” [“Satan appear to me!”]). From this point till near the end of the opera Mephistopheles and Faust are inexorably linked. In his movements through the set Beczala gives the impression of aging futility, while his committed singing underlines the yearning of so much not experienced in this mortal life. His delivery of the toast to this final day on earth unleashes an emotional conviction to die, highlighted by ringing and extended top notes on “Salût” (“To you”). When Mephistopheles arises, here as a vivified corpse from a laboratory table, Pape’s opening lines are sung in the stylish and effective guise of the “gentilhomme” (“cavalier”), as he describes himself with great melismatic fervor. His ensuing dialogue with Faust, in which he coaxes the doctor to reveal his desire, is performed with a lyrical ease, so that Pape assumes a likeable pose both to the hero and to the audience. When Faust confesses his desire for “la jeunesse” (“youth”), Mephistopheles produces the contract, by which Faust will sign away his soul, along with an apparition of Marguerite to secure the doctor’s commitment. At this point the vocal interaction between Beczala and Pape, in varying each other’s lines and singing in duet, was flawless and dramatically executed. Beczala’s transformation into a young man induced a lyrical enthusiasm for worldly pleasure (“À moi la plaisir” [“For me the pleasure”]) and the quest for adventure. As both figures declare “En route” (“Let us be on our way”), they abandon the confines of the musty laboratory.
René Pape as Méphistophélès
Act II in Gounod’s opera moves from the collective and crowded to the individual At the start a village fair has begun with participants including students, soldiers, young women, and townspeople. Here the Lyric Opera Chorus gave an exceptional performance in its rendition of the paean to wine. Immediately following the choral delights the young soldier Valentin becomes the center of attention. Before he leaves for battle Valentin sings of his concern for his sister Marguerite and begs God to protect her. In this role Lucas Meachem has proven his exceptional agility in the lyric baritone repertoire. From the start of his cavatina “Avant de quitter ces lieux” (“Before departing from this homeland”) Meachem imbued his words with emotional tension, showing exquisite ascending notes on “a toi” (“to You, Lord”) and “ma soeur” (“my sister”). He introduced military imagery in the middle section without bluster and concluded the cavatina on a securely extended pitch at “Roi” (“King of heaven”). The pendant aria to Valentin in this act is “Le Veau d’Or” (“The Golden Calf”) sung by Mephistopheles. Pape’s acting was equally important as he transformed the piece into a dramatic as well as lyrical turning point. Although the villagers marvel at the stranger’s tricks, Valentin becomes suspicious. Faust himself enters and, at last, has an opportunity to address Marguerite. Although she does not accept his overtures, Faust realizes that he loves her. At the close of the act Mephistopheles assures him of continued assistance in gaining Marguerite’s devotion.
The preliminaries of Acts I and II set the ground for the following two acts. In Act III the role of Siébel, sung in this production by Katherine Lerner, shows a further development of her rapt devotion for Marguerite. Ms. Lerner gave an appropriately infatuated rendition of Siébel’s entrance aria while she intoned the verses with care and lush expression. As Mephistopheles and Faust re-enter they make plans for Faust’s further pursuit of Marguerite. Faust’s cavatina “Quel trouble inconnu me pénètre?” (“What unknown care oppresses me?”) was yet another highpoint of the performance. Beczala’s voice remains strong and convincingly produced in all registers, his characterization of the love-stricken hero showing polished, graceful tones and well-placed breath control. At Marguerite’s entrance into the garden she sings the ballad of the “Roi de Thulé” (“King of Thule”), followed almost immediately by the famous jewel song in response to finding the tempting jewel case left by Mephistopheles. Ms. Martínez’s voice is here well suited to the role, her piano notes being securely projected and a burnished quality infusing the voice when she sings forte. Her performance of the trills and roulades in the second aria show also a strong technique for coloratura. After this scene the couples are paired in counterpoint: Marguerite and Faust, Marthe and Mephistopheles. The arrangement will return again later and is especially well staged in the current production. In the final duet of Act III Beczala and Martínez gave a touching rendition of the blossoming love which must, at first, wait and then can be halted no longer. (“O nuit d’amour!” [“Oh, night of love!”]). Mephistopheles laughs loudly as the two are finally united.
In Acts IV and V the earthly downfall of Marguerite becomes increasingly apparent. In the first scene of Act IV she stands at a loom lamenting in her aria this abandoned position and the scorn she senses from her former associates. Despite the faithful devotion expressed by Siébel in his following aria, Marguerite simply questions Faust’s wandering. Throughout this scene and the following, in which she prays in church for forgiveness, Martínez displays a keen sense of dramatic commitment while maintaining a lyrical command of line. In the next scene Valentin returns from the war and learns of his sister’s transgression. The dueling scene that is staged between him and the drunken Faust is a marvel of choreographic daring culminating in the soldier’s being mortally wounded. Meachem sang a convincing scene of Valentin’s death ending with a chilling curse of Marguerite as being responsible for her own dishonor as well as his death (“Marguerite! Sois maudite!” [“Marguerite, be accursed!”]).
In the final act Faust comes, with the help of Mephistopheles, to visit Marguerite in prison where she awaits execution for having murdered the child she bore to Faust. The madness communicated by Martínez is heart-wrenching as she clutches a blanket rolled up as though it were an infant. A last idyllic illusion of happiness between the lovers is sung with great fervor, as Beczala and Martínez participate in an emotional duet, enhanced by both with well executed decoration and melismas. This idyll is, however, interrupted as Mephistopheles steps forward. Marguerite’s soul is saved, as announced by voices from heaven. In this production the contract signed by Faust to serve Mephistopheles after death bursts into flames. The curtain then falls with, at least in this instance, the end of the devil’s power.