Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Il barbiere di Siviglia at Glyndebourne

Director Annabel Arden believes that Rossini’s Il barbiere di Siviglia is ‘all about playfulness, theatricality, light and movement’. It’s certainly ‘about’ those things and they are, as Arden suggests, ‘based in the music’.

Oedipe at Covent Garden

George Enescu’s Oedipe was premiered in Paris 1936 but it has taken 80 years for the opera to reach the stage of Covent Garden. This production by Àlex Ollé (a member of the Catalan theatrical group, La Fura Dels Baus) and Valentina Carrasco, which arrives in London via La Monnaie where it was presented in 2011, was eagerly awaited and did not disappoint.

Gounod’s Roméo et Juliette at Lyric Opera, Chicago

Lyric Opera of Chicago staged Charles Gounod’s Roméo et Juliette as the last opera in its current subscription season.

L’incoronazione di Poppea, RAO

‘The plot is perhaps the least moral in all opera; wrong triumphs in the name of love and we are not expected to mind.’

Madame Butterfly , ENO

Anthony Minghella’s production of Madame Butterfly for ENO is wearing well. First seen in 2005, it is now being aired for the sixth time and is still, as I observed in 2013, ‘a breath-taking visual banquet’.

Valiant but tentative: La straniera at the Concertgebouw

This concert version of La straniera felt like a compulsory musicology field trip, but it had enough vocal flashes to lobby for more frequent performances of this midway Bellini.

London Festival of Baroque Music 2016: Words with Purcell

As poetry is the harmony of words, so music is that of notes; and as poetry is a rise above prose and oratory, so is music the exaltation of poetry.

The Dark Mirror: Zender’s Winterreise

From experiments with musique concrète in the 1940s, to the Minimalists’ explorations into tape-loop effects in the 1960s, via the appearance of hip-hop in the 1970s and its subsequent influence on electronic dance music in the 1980s, to digital production methods today, ‘sampling’ techniques have been employed by musicians working in genres as diverse as jazz fusion, psychedelic rock and classical music.

Great Scott Wows San Diego

On May 7, 2016, San Diego Opera presented the West Coast premiere of Great Scott, an opera by Terrence McNally and Jake Heggie. McNally’s original libretto pokes fun at everything from football to bel canto period opera. It includes snippets of nineteenth century tunes as well as Heggie's own bel canto writing.

Bellini’s Adelson e Salvini, London

A foiled abduction, a castle-threatening inferno, romantic infatuation, guilt-laden near-suicide, gun-shots and knife-blows: Andrea Leone Tottola’s libretto for Vincenzo Bellini’s first opera, Adelson e Salvini, certainly does not lack dramatic incident.

Manitoba Opera: Of Mice and Men

Opera as an art form has never shied away from the grittier shadows of life. Nor has Manitoba Opera, with its recent past productions dealing with torture, incest, murder and desperate political prisoners still so tragically relevant today.

The Rose and the Ring

Published in 1855 as an entertainment for his two daughters, William Makepeace Thackeray’s The Rose and the Ring is a burlesque fairy-tale whose plot — to the author’s wilful delight, perhaps — defies summation and elucidation.

The Lighthouse at San Francisco’s Opera Parallèle

What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.

King’s Consort at Wigmore Hall

I suspect that many of those at the Wigmore Hall for The King’s Consort’s performance of the La Senna festeggiante (The Rejoicing Seine) were lured by the cachet of ‘Antonio Vivaldi’ and further enticed by the notion of a lover’s serenade at which the generic term ‘serenata’ seems to hint.

Kathleen Ferrier Awards 2016

Having enjoyed superb singing by a young cast of soloists in Classical Opera’s UK premiere of Jommelli’s Il Vogoleso the previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final at the Wigmore Hall confirmed the strength and depth of talent possessed by the young singers studying in and emerging from our academies and conservatoires.

Pacific Opera Project Recreates Mozart and Salieri Contest

On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.

Powerful chemistry in La Cenerentola in Cologne

Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.

Tannhäuser: Royal Opera House, London

London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.

The Golden Cockerel in Düsseldorf

Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.

San Diego Opera Presents a Tragic Madama Butterfly

On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.

OPERA TODAY ARCHIVES »

Reviews

Olga Guryakova as Oxana [Photo by Bill Cooper courtesy of The Royal Opera]
08 Dec 2009

Tchaikovsky’s Sure-Footed ‘Slippers’

Spearheaded by a stunning design concept for The Tsarina’s Slippers, London’s Covent Garden served up as delectable a production as could be desired, and introduced its lucky patrons to a jewel of an under-performed comic opera in the bargain.

Pyotr Il'yich Tchaikovsky: The Tsarina's Slippers

Oxana: Olga Guryakova, Viktoria Yastrebova; Vakula: Vsevolod Grivnov; Solokha: Larissa Diadkova; Chub: Vladimir Matorin; The Devil: Maxim Mikhailov; Schoolmaster: Viacheslav Voynarovskiy; Pan Golova: Alexander Vassiliev; Panas: John Upperton; His Highness: Sergei Leiferkus; Master of Ceremonies: Jeremy White; Wood Goblin: Changhan Lim. Dancers of The Royal Ballet. The Royal Opera. Conductor: Alexander Polianichko. Director: Francesca Zambello. Set Designer: Mikhail Mokrov. Costume designs: Tatiana Noginova. Lighting Designer: Rick Fisher. Choreography: Alastair Marriott.

Above: Olga Guryakova as Oxana

All photos by Bill Cooper courtesy of The Royal Opera

 

Tchaikovsky’s seldom seen opus is not, to be sure, in the same league as his Onegin, Queen of Spades or even Mazeppa. But Slippers is nevertheless chockful of the musical ingredients that inform the composer’s weightier works, and the master’s melodic gifts were often in evidence. Most of us (this listener included) were afforded that rare experience of discovering a work that was totally new to us, even if the musical vocabulary was well grounded in our ears. Each character was afforded at least one major set-piece, and if we were often at odds over the “do-we-clap-or-shouldn’t-we?-dilemma,” that only added to the evening’s spontaneity.

The riotously colorful production design appeared as though the creators had taken the most magnificent Palekh lacquer boxes, the airiest of Arthur Rackham drawings, and the wittiest work of Maurice Sendak — put them all in a bag and shook them up — and then let them tumble onto the stage of the Royal Opera. Seldom has a stage picture(s) been so effective in furthering the effectiveness of a comic opera.

Mikhailov_Diadkova_Tsarina.gifMaxim Mikhailov as the Devil and Larissa Diadkova as Solokha

Set designer Mikhail Mokrov devised a spectacularly busy show curtain that delighted the eye and established the tone of the proceedings. One remarkably apt effect followed another: a beautifully judged deep blue town drop with the requisite devil painted on the church steeple in a field of orange; meticulously detailed rustic interiors; a host of wagon insets that were as functional as they were cheeky; a haunting moon drop; a joyous Maypole (or whatever-the-heck a Maypole is called in winter!); and tongue-in-cheek flying effects as the characters take wing on their broomsticks.

Too, there was never a false moment in the atmospheric specials and area illumination of Rick Fisher’s splendid lighting design. Tatiana Noginova took full advantage of the vivid possibilities of folk costuming to fashion dazzling attire that was at once eccentric, eye-catching, complementary to the scenery, and complimentary to the performers. Ms. Noginova not only charmed us with faux animal/devil costumes, but also impressed us with the easy elegance of the dancers’ attire for the more formal ballet segments.

Having recently read some article or another expounding on the loss of national personality in Russian voices, that writer obviously never hear this bunch of soloists. For here was a whole cast (not all Russian) who had “the sound.” You know, the kind of edgy, full-throated sound with generous vibrato that the likes of Vishnevskaya once commanded.

In the key role of Oxana (she who asks for her lover to bring her the titular footwear), Olga Guryakova had a lot going for her. A little too much, perhaps at first. In the first act, Ms. Guryakova seemed a bit too loud and full-throated for the music at hand. Her first aria and scene inside the house cried out for limpid, plangent singing above the staff, and while she certainly had all the notes and sang musically, I couldn’t help but wonder what Renee might have made of those hauntingly lovely phrases. But then, whoa, wait a minute! The demands on our heroine ratcheted up in Act Two, and let me tell you, that pretty-as-a-dainty-princess Olga rode the orchestra with ease, and with clarion high notes. Thrilling stuff that. My previous experience with her gifts was in the title role of Rusalka in Brussels last season and I remember thinking then, too, that while she is very talented and stage savvy, I wish she could caress the melancholy phrases as effectively as she commands the stentorian passages.

Cossack dancers

It is perhaps unfair to muse too hard or long on Vsevold Grivnov’s take on Vakula since he was announced as “feeling a cold coming on.” He is a charming bear of a personality that really emanates a happiness to be on stage, and much of his singing gave pleasure. He seemed to be holding back on this occasion, as his pleasing tenor lacked the same vocal presence as his soprano’s. He sings big roles in major houses, manages to pace himself to spout some buzzy top notes when required, and performs with conviction and stylistic acumen. I would certainly love to hear Mr. Grivnov another time when he is operating at full steam.

The formidable Larissa Diadkova is flat out giving the star performance of the show as the witch Solokha. Hers is a rock solid technique with a thorough understanding of communication of vocal line and text, delivered with a killer smile and a set of pipes that can pin you to your seat. Ms. Diadkova is peerless in this repertoire, and she seems to be having the time of her life. So are we. Veteran Sergei Leiferkus may not have the mellifluous spin in his baritone of yore, but he sang with unparalleled elegance and poise. A sprightly Maxim Mikhailov worked the stage delightedly and offered a cleanly sung, cliche-free Devil.

Viacheslav Voynarovskiy and Alexander Vassiliev did all that was required as the Schoolmaster and Pan Golova, respectively, not least of which was walking around “trapped” in sacks to avoid discovery after their lusting visits to Solokha. Vladimir Matorin (Chub) was certainly extremely tall and extremely loud. This is a big voice and a big boy, but I had the feeling that Matorin was content to let his stature and volume do the job of creating a character, of which there is more to be mined with a more thoughtful reading. John Upperton was a secure Panas and Jette Parker Young Artist Changhan Lim showed real promise with a lovely rendition of the Wood Goblin.

Last but surely not least, Gary Avis, Mara Galeazzi and the other dancers of the Royal Ballet contributed mightily to the evening’s magic with highly assured performances of Alastair Marriott’s memorable choreography. In fact, so fine, so clean was the execution of the substantial dance segments, that it had the unfortunate effect of throwing into high relief the fact that the stage direction was. . .well. . .a bit clunky.

I have enjoyed Francesca Zambella’s work on a number of occasions. . .with musical drama. The talented Ms. Zambella seems less attuned to lighter works (at least based on this show and the rather tepid The Little Mermaid.) The cast is certainly gamely giving their all. However, enthusiastic mincing and prancing; unabashed mugging and playing to the balcony; and random semaphoring are not a substitute for comic interaction grounded in honesty and natural by-play. The specificity and focus of the director’s dramatic work were too often absent here.

Conductor Alexander Polianichko offered quite a substantive reading that seemed infused with the correct style and which ultimately blossomed into spirited music-making. For the first third of the evening, however, the pit seemed a bit off form, indeed curiously muted, with a couple of fluffs in exposed solo work that are surprising from a band that is usually spot on. Happily, midway through Act One the group caught fire and kept up a polished rendition to the end. I have to say, it was curious to have reprised the final chorus accompaniment as instrumental curtain call music! A first for me in the opera house. . .

Minor carping aside, the Royal Opera took a gamble that the public would welcome a work that was virtually unknown, and welcome it they did. As the giant golden shoe rolled on at show’s end and served as a lovers’ carriage, I was quite ready to watch it all over and be enchanted again. It is to be hoped that this winning production might have a long life, for the piece deserves a wider hearing. In the end then, the Slippers fit, the audience cheered, and if we came out (just a bit) humming the scenery, it was a grand occasion, fit for a Tsarina.

James Sohre

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):