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.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.
On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman theatre of Aspendos near Antalya in southern Turkey is not an arena or amphitheatre at all, so there are not nearly as many ghosts of gored gladiators or dismembered Christians to disturb the contemporary feng shui as in other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014 by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings
On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!
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.
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.