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.
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
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.