18 Dec 2009
Amsterdam: Minnie, Get Your Gun
It is hard to know where to start to adequately laud Netherlands Opera’s witty new La Fanciulla del West.
Opera Philadelphia deserves congratulations on yet another coup. The company co-commissioned Cold Mountain, an opera by Jennifer Higdon based on Gene Scheer’s adaptation of Charles Frazier’s celebrated Civil War epic.
For their first of two recitals at the Wigmore Hall, Christian Gerhaher and Gerold Huber devised an interesting programme - popular Schubert mixed with songs by Wolfgang Rihm and by Huber himself.
There are not many opera productions that you would cross oceans to see. Graham Vick’s Götterdämmerung in Sicily however compelled such a voyage.
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 opera-novel Quicksand makes for a novel experience
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).
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.
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 . . .
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.
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.
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.
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’.
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.
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.
When, o when, will someone put Peter Sellars and his compendium of clichés out of our misery?
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.
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.
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.
‘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.
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.
It is hard to know where to start to adequately laud Netherlands Opera’s witty new La Fanciulla del West.
So, let’s begin with the wholly idiomatic and beautifully judged conducting from Carlo Rizzi, shall we? From the first downbeat Maestro Rizzi savored every varied detail of Puccini’s masterful orchestration. He not only reveled in its lush lyrical moments but also put real spunk into the intentioned rambunctiousness and occasional silliness. The house is privileged to have several “resident” orchestras, and on this occasion the estimable Netherlands Philharmonic Orchestra played with fire (as it were), sumptuous beauty (when called for) and a dynamic color palette.
Chorus Master Martin Wright coached his lusty-voiced, silver-throated boys to a fare-thee-well, or rather a ‘doo-dah-doo-dah-day.’ The chorus also contributed some wonderfully sensitive, mellow ensemble vocals, especially in the score’s closing moments. And what an exuberant and frequently giddy score it is. (I always forget that Lloyd Weber stole…I mean “borrowed” that swelling lyrical phrase for the climatic section of “Music of the Night.”)
The entire cast seemed to be having the time of their lives. First and foremost, the sublime Eva-Maria Westbroek could “own” the part of Minnie if she so desired. She has a thorough understanding of the arc of the role, and after her gun-slinging entrance, comfortably settles into Act One as a socially naïve love object. Her phrasing and delivery were beautifully modulated to suggest insecurity and uncertainty as her attraction to Johnson progresses. However, her revulsion for Rance nevertheless had all the required steeliness without caricatured meanness, a starchy resolve that she broadened in Act II.
As her feelings for Johnson became more and more pronounced, the Dutch diva plumbed deep emotional reserves, offering some beautiful warm, womanly singing as she surrendered to her attraction. As her desperation to save her lover escalated, Ms. Westbroek unleashed molten phrases above the staff that glanced through the house like laser beams. Her assured return in Act III found her transformed by the ordeal, resolved to win over the minds of the assembled on-stage forces and fully prepared to embrace her role as Dea Ex Machina/heroine - of the plot as well as the heart.
Her last lengthy “appeal” to her beloved boys was as heart-rendingly acted as it was impeccably vocalized. Eva-Maria may not have the final Italianate sheen of a Tebaldi on the very top, but she has the style down pat to include a commendable use of portamento. She is in every sense poised to be the leading exponent of this role today. Let’s call her a Minnie-miracle.
Since last I heard Zoran Todorovich, his meaty tenor has gotten bigger and more imposing. He not only cut a good figure as Johnson, but he also provided some really fine acting in the bargain. His way caressing a Puccinian phrase was masterful, witness his heart-stopping, sotto voce plea to Minnie for “solo un bacio…” (so persuasive that there seemed to be several willing takers seated around me…)
Mr. Todorovich could also really pour on the steam, and he was a very considerate collaborator for his soprano with whom he had substantial chemistry. The trade-off in having put some weight and fullness into his technique is that the (always secure) uppermost top became a bit broad and straight-toned. Small matter, our tenor gifted us with top notch singing all night and contributed a memorable version of his last arioso.
As the Sheriff-We-Love-To-Hate, Lucio Gallo delivered a winning hand with his assured Jack Rance. His baritone is not exceptionally large (not Milnes-ian, say) but it is very well-focused and cleanly produced, creating the aural result that it is quite imposing indeed. He rode the orchestra with ease and offered a well-rounded, smoldering characterization rather than a cartoonish cad.
Lucio Gallo (Jack Rance), Zoran Todorovich (Dick Johnson), Eva-Maria Westbroek (Minnie)
The featured male principals were cast from strength, with Roman Sadnik’s Nick a real stand out. Andre Morsch contributed a nice moment with Jake Wallace’s solo, and Tijl Faveyts made the most of his stage time as Billy Jackrabbit. Ellen Rabiner is without a doubt the most petite Wowkle I have ever seen, but her contralto was anything but — it rang out in the Muziektheater with polished presence. Patrick Schramm’s homesick Larkens was sweetly touching. The entire ensemble acquitted themselves with honor.
Set Designer Raimund Bauer devised tremendously effective playing environments. Act One’s Saloon would not have been out of place as the Guys and Dolls crap game sewer, save for the addition of slot machines and a Wells Fargo Bank safe down center. Judging from program book “research” photos, the look was meant to approximate a DC Metro platform, but for a large rectangle cut out to reveal a Wall Street-like skyscraper projection above (the excellent video work was devised by Jonas Gerberding). Director Nikolaus Lehnhoff and his team used the underlying themes of greed and the power of money to create a staging that took the piss out of American obsession with wealth, guns, cars, status, sex, and Hollywood celebrity.
While it is hardly “news” for European productions to satirize the US, surely Fanciulla is the fairest of fair game since it already parodies so much of the stereo-typical American western life of legend. Metro station be damned, with the saloon’s trippy pink and blue fluorescent-lit bar, and the miners in Andrea Schmidt-Futterer’s hip Western leather wear, it could have as easily summoned up Happy Hour at the Mineshaft!
This was an endlessly entertaining and eye-filling production. The stylized gesticulating and frozen poses of the gambling were visually arresting, with total involvement from the large male cast. Jake’s solo offered a wonderful interpretive goof, having him clad in a white outfit with white guitar, jacket fringe rippling, looking for all the world like an apparition of The Singing Cowboy (well, sort of Liberace meets Gene Autry) atop the saloon entrance as the cityscape changed to a stylized bucolic scene that scrolled lazily behind him. It was here that Minnie later made her very effective first (star) entrance in red leather overcoat, black cowboy hat, and relentlessly smoking gun, before she strode to stage level down a staircase that seemed to appear from nowhere.
Eva-Maria Westbroek (Minnie)
Act II’s curtain opened to reveal a Hollywood-style luxury dressing trailer of the kind-that-never-was except in fantasy. All pink-tufted walls, and cheekily accessorized (Disney’s Pocohantas was playing on the kitchen counter TV), this was a brilliant re-invention of the usual log cabin affair. A pink teddy bear on the bed provided an amusing moment when Johnson reacted to having absent-mindedly picked it up. The hiding place for the wounded outlaw was atop the whole shebang, accessed by a telescoping ladder than Minnie yanked down to good comic effect. Later, when Rance did the same with brutish malintent, it was a chilling, truly disturbing moment.
There was awesome attention to detail. Two large deer lawn ornaments graced the snowy yard and as the lights dimmed during the romantic moments, their eyes lit up and glowed a warm orange. An American flag was frozen in flight, unfurled on the flag-pole, and a lighted statue of the Virgin Mary was in the window. Once revealed, the faltering Johnson collapsed and fainted on the bed. Rance, having lost at cards, is further humiliated by having to pry and pull his coat out from where he had left it, now pinned under the unconscious Johnson. Dynamite stuff. Telling dramatic moments. Flat out superbly inventive direction from a supremely gifted director.
Act III starts with a reveal of an automobile graveyard, an enormous sculptured pile of realistic cars, prompting spontaneous audience applause. As cast members crawled out of cars, it was like a stoned, leather, C/W version of the junkyard scene in Cats, except with good music. The applause meter went off again a bit later when the whole damn thing turned to reveal Minnie as a Jean Harlow-like movie star in dazzling sequined gown atop a Busby Berkley staircase. When the MGM logo ultimately lit up behind her (yes, the lion roared at the very end) the send-up (and our joy) was near complete. Perhaps the final moments risked gilding an already golden lily. For the front scrim flew in and the miners grasped the air to collect falling (projected) paper money, with the Love Couple posed wedding-cake-like atop the staircase. Then a giant twenty dollar bill image grew larger and larger and finally obscured it all while Rance pointed his pistol at us, guarding the safe as the lights dimmed. Gilding? Perhaps. Effective? You betcha.
The redoubtable Duane Schuler’s lighting was of the highest caliber throughout. Witness the atmospheric isolated spot at the close of One on a contemplative Minnie, an image floating dreamily among the twilight of the gaming machines. And the moody shadows cast in the trailer. And the starlight poking through the wintry sky. And and and…fine work as usual, Mr. Schuler.
There are those who are bothered if every line of text is not enacted with absolute faithfulness, or treated with utmost literalism. Those are the same dreary tut-tutters who still expect to see a three hundred pound soprano ride “Grane” onto the pyre. Get over it! Lighten up! Let’er snap!
For those with a taste for an inventive, wholly successful, personalized, humor-infused interpretation that still honestly represents Puccini’s creative achievement and embraces his blatant sentimentality, then hurry at top speed to Amsterdam for their La Fanciulla del West is a shining model of its kind.