18 Dec 2009
Pénélope in Manhattan
The one thing certain about the judgment of history is that history will change its mind.
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.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw Orchestra’s season with a slightly uneven performance of Mahler’s Resurrection Symphony. With four planned, this staple repertoire for the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful production. With magnificent voices, Andreas Schager and Dorothea Röschmann rescued Michael Thalheimer’s grotesque staging of von Weber’s Der Freischütz. At Staatsoper Unter den Linden, Alexander Soddy led a richly detailed, transparent and brilliantly glowing Berliner Staatskapelle.
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an intriguing American double bill of rarities. An experience that was well worth the trip to this desolate ghost town, remnant of industrial West Germany.
The one thing certain about the judgment of history is that history will change its mind.
The standard operatic repertory today is not the standard repertory of fifty years ago — when such now popular works as Idomeneo, Maria Stuarda, Ariadne auf Naxos, Die Frau ohne Schatten, Semiramide, Katya Kabanova and Les Troyens were obscure or unknown, and Handel, Cavalli and Monteverdi languished in scholarly footnotes. Today, therefore, when so carefully composed a work as Fauré’s Pénélope has failed to find an audience, one is apt to wonder why and whether it is another candidate to join the canon.
Fauré was almost new to the opera game when, at sixty-two, he was finally attracted to a libretto, and it took him six summers (he was busy at the Conservatoire most of the year) to complete the piece. My conclusion, however, after attending the New York premiere of the work at the Manhattan School of Music, a performance by an orchestra of remarkable professionalism, sung by attractive young voices, is that the composer did not possess a gift for the theatrical among his many great talents. There is much beauty here, especially in the orchestration, but very little excitement.
It is interesting to contrast Pénélope (of 1913) with its near contemporary, Vincent d’Indy’s Fervaal, a work of 1897, also brought to Paris in 1913, and introduced to New York last October. Like Fauré, d’Indy was an academician under Wagnerian shadow in his choice of ancient legend, his use of leitmotiv and his rejection of closed forms within the grand arc of a scene. But d’Indy’s impossible epic contains no personalities — the leading characters declaim at each other, but in his musical setting, have no humanity. We never know who these people are, prolix though they be; the music never makes them individual. On the other hand, the burly chorales, the “Druidic” ceremonies, the tone poems that set the various scenes contain thrilling music of high quality.
Fauré’s Pénélope clearly sets up its personalities, both the leading figures, faithful, anguished Pénélope and the disguised, yearning Ulisse, and minor figures are individuated, often entertainingly — but very little of the music packs a punch. We are never brought to the edge of our seats, much less inclined to jump out of them. Not only does Fauré reject closed forms (arias, duets), he also rejects ensemble — his characters never indicate their relationships or inner thoughts by singing together. True, Wagner denounced the excesses of such things, praising the “drama” of individual speech, but, being Wagner, he ignored his own injunctions as soon as a duet or a quintet seemed to be required. Fauré never notices when the drama might call for such things — he is no showman. From situation to situation in Pénélope, all is dignity and refinement — the thing plods, though beautifully. This is not a work of stagecraft, of variety, and it will not follow Les Troyens, for example, a work packed with vivid character and incident, into popular favor.
What we have here, then, in Pénélope, is a stately piece on an ancient, stately story. The orchestration is exquisite, and the Manhattan School of Music orchestra, which has sometimes offered dodgy renditions of complex scores, played this one lovingly, with impressive polish and attention to detail under Laurent Pillot, who plainly loves this score. The vocal lines, too, are well placed — Fauré could express deep emotion without straining the voice to extremes, a skill lacking in many composers who dabbled in opera. But the music rarely becomes fast or loud or agitated, even when one of the characters is murdering several of the others. I found myself thinking — and not only because of Fauré’s way of wandering from theme to theme, doubling back and twining them again — of Act III of Tristan und Isolde. But even that tone poem to a bedridden invalid includes a couple of climaxes to vary the pace.
The title role of Pénélope was taken by Lori Guilbeau. From the buzz around me opening night, I gather she is much prized at the school as their budding dramatic soprano. She has a pretty, sizable voice, easy in its production though immature at fortissimo. Her soft singing was beautiful, her diction clear, and though her figure is robust, she is a handsome woman with a dignified stage presence — opera producers are no longer tolerant of singers who cannot move, and Guilbeau gives evidence that the Manhattan School takes such things seriously when launching careers. Too, Pénélope is just the sort of music she should be singing at this stage — her mid twenties. She should not sing heavy dramatic parts for another decade, while her body and her control over it both mature, but she was joyously received in Pénélope.
Tenor Cooper Nolan sang Ulisse with beautiful phrasing and without strain. Frankly, his situation could have used some strain now and then, but the fault there was Fauré’s. Robert E. Mellon made a striking impression as the gruff shepherd Eumée — wasn’t he a swineherd in Homer? Several of Pénélope’s obnoxious suitors sang quite well, but it was difficult to tell them apart.
Martin T. Lopez’s set was cleverly compartmentalized, with different levels and segmented rooms so that the story could move without pause and without the need to change scenes. Attractive scrims covered areas that could be lit to reveal iconic or choral personages. Pénélope sang much of her part through the warp of a loom at which she was supposedly weaving the famous tapestry she unraveled each night, Ulisse sang his role through a mask (being in disguise until the climax). My only real quibble with Lawrence Edelson’s admirably simple and clear staging concerned the bow — the suitors are supposed to find it impossible to string the bow, which Ulisse does do, thereupon assaulting them with arrows. Is no one at Manhattan School aware of what stringing a bow means? It was already strung, giving the suitors nothing to do but sing at it, and there were no arrows at all.