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.
Arrigo Boito Mefistofele was broadcast livestream from the Bayerische Staatsoper in Munich last night. What a spectacle !
The monochrome palette of Picasso’s Guernica and the mural’s anti-war images of suffering dominate Calixto Bieito’s new production of Verdi’s The Force of Destiny for English National Opera.
The world premiere of Morgen und Abend by Georg Friedrich Haas at the Royal Opera House, London — so conceptually unique and so unusual that its originality will confound many.
Company XIV’s production of Cinderella is New York City theater at its finest. With a nod to the court of Louis the XIV and the grandiosity of Lully’s opera theater, Company XIV manages to preserve elements of the French Baroque while remaining totally innovative, and never—in fact, not once for the entire two and a half hour show—falls prey to the predictable. Not one detail is left to chance in this finely manicured yet earthily raw production of Cinderella.
This was a concert where immense satisfaction was derived equally from the quality of musicianship displayed and the coherence and resourcefulness of the programme presented. In 1610, Claudio Monteverdi published his Vespro della Beata Vergine for soloists, chorus, and orchestra.
This well-packed disc is a delight and a revelation. Until now, even the most assiduous record collector had access to only a few of the nearly 100 songs published by Félicien David (1810-76), in recordings by such notable artists as Huguette Tourangeau, Ursula Mayer-Reinach, Udo Reinemann, and Joan Sutherland (the last-mentioned singing the duet “Les Hirondelles” with herself!).
If not timeless, Robert Carsen’s production of Francis Poulenc’s Dialogues des Carmélites is highly age-resistant.
Ermanno Wolf-Ferrari was one of the Italian composers of the post-Puccini generation (which included Licinio Refice, Riccardo Zandonai, Umberto Giordano and Franco Leoni) who struggled to prolong the verismo tradition in the early years of the twentieth century.
On Saturday evening October 31, 2015, the Nantucket whaling ship Pequod journeyed to Los Angeles Opera and began its sixth voyage in the attempt to kill the elusive whale called Moby-Dick.
Great Scott is a combination of a parody of bel canto opera and an operatic version of All About Eve. Beloved American diva Arden Scott (Joyce DiDonato), has discovered the score to a long-lost opera “Rosa Dolorosa, Figlia di Pompeii” and has become committed to getting the work revived as a vehicle for her. “Rosa Dolorosa” has grand musical moments and a hilariously absurd plot.
The most recent instalment of the Wigmore Hall’s ambitious series, ‘Schubert: The Complete Songs’, was presented by soprano Lucy Crowe, pianist Malcolm Martineau and harpist Lucy Wakeford.
This new release of John Taverner’s virtuosic and florid Missa Corona spinea (produced by Gimell Records) comes two years after The Tallis Scholars’ critically esteemed recording of the composer’s Missa Gloria tibi Trinitas, which topped the UK Specialist Classical Album Chart for 6 weeks, and with which the ensemble celebrated their 40th anniversary. The recording also includes Taverner’s two settings of Dum transisset Sabbatum.
Gioachino Rossini’s La Cenerentola has returned to Lyric Opera of Chicago in a production new to this venue and one notable for several significant debuts along with roles taken by accomplished, familiar performers.
Back in 2000, Glyndebourne Touring Opera dragged Puccini’s sentimental tale of suffering bohemian artists into the ‘modern urban age’, when director David McVicar ditched the Parisian garrets and nineteenth-century frock coats in favour of a squalid bedsit in which Rodolfo and painter Marcello shared a line of cocaine under the grim glare of naked light bulbs and the clientele at Café Momus included a couple of gaudily attired transvestites.
Just as Orpheus embarks on a quest for his beloved Eurydice, so the Royal Opera House seems to be in pursuit of the mythical music-maker himself: this year the house has presented Monteverdi’s Orfeo at the Camden Roundhouse (with the Early Opera Company in January), Gluck’s Orphée et Eurydice on the main stage (September), and, in the Linbury Studio Theatre, both Birtwistle’s The Corridor (June) and the Paris-music-hall style Little Lightbulb Theatre/Battersea Arts Centre co-production, Orpheus (September).
Wexford Festival Opera has served up another thought-provoking and musically rewarding trio of opera rarities — neglected, forgotten or seldom performed — in 2015.
Another highlight of the Wigmore Hall complete Schubert Song series - Christoph Prégardien and Christoph Schnackertz. The core Wigmore Hall Lieder audience were out in force. These days, though, there are young people among the regulars : a sign that appreciation of Lieder excellence is most certainly alive and well at the Wigmore Hall. .
How did it go? Reactions of my neighbors varied. Some left at the intermission, others remarked that they thought the singing was good.
In the first half of the 19th century, Spontini’s La Vestale was a hit. Empress Josephine sponsored its premiere, Parisians heard it hundreds of times, Berlioz raved about it and Wagner conducted it.
An intelligent updating and outstanding performance of the title role lead to a shattering climax in Puccini's Japanese opera
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.