15 Dec 2009
Zürich’s Riveting ‘Corsaro’
Il Corsaro, the Verdi rarity currently on display at Zürich Opera, is the best of both possible worlds.
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
Francesco Cavalli’s La Calisto was the composer’s ﬁfteenth opera, and the ninth to a libretto by Giovanni Faustini (1615-1651). First performed at the Teatro Sant’Apollinaire in Venice on 28th November 1651, the opera by might have been sub-titled ‘Gods Behaving Badly’, so debauched are the deities’ dalliances and deviations, so egotistical their deceptions.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure, this new production presents the plot as the dying protagonist’s feverish hallucinations. The result is a frosty retelling of what is arguably Puccini’s most hot-blooded opera. Musically, the performance also left much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang bergetar akan terhapus.” (“The transient cannot hold on to stars lost in the Milky Way; that which quivers will be erased.”) As soprano Tony Arnold sang these words of Tony Prabowo’s chamber opera Pastoral, with astonishingly crisp Indonesian diction, the first night of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
New from Oehms Classics, Walter Braunfels Orchestral Songs Vol 1. Luxury singers - Valentina Farcas, Klaus Florian Vogt and Michael Volle, with the Staatskapelle Weimar, conducted by Hansjörg Albrecht.
Manitoba Underground Opera took audiences on a journey — literally and figuratively — as it presented its latest installment of repertory opera between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
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.
Il Corsaro, the Verdi rarity currently on display at Zürich Opera, is the best of both possible worlds.
For starters, it is uncommonly well sung and played with authentic style and real Italian ardor. One has come to expect such top tier musical quality from this marvelous Swiss company. But the surprising marvel of the evening was a wholly modern “concept” production that not only offered thrilling visiuals, but also uncompromising clarity.
Anyone who reads the pages of virtually any opera-related publication is well aware of the profusion of so-called “Eurotrash” productions that litter (word chosen carefully) the theatrical landscape, willfully undermining the work of art they are meant to serve, running perversely counter to the authors’ intentions, or just plain setting out to create an entirely un-related work casually relegating the music and drama to second banana status as a means to some sort of arrogantly pretentious “end.”
All the more remarkable then, that such a surreal production could pack such a wallop. How? Set designer Paolo Fantin used the ‘‘elements” as a basis for his breath-taking design. The island of the opening scene consisted of a weighty, over-sized, tilted writing desk, littered with books, and bearing its lone citizen: our troubled hero Corrado. Mr. C attempts to script letter after letter to his beloved only to crumple them and discard them in the sea. The desk floated and spun on a water-filled stage, backed by a huge tilted mirror wall that reflected the assembled forces as if from above. This provided a sensational kaleidoscopic effect that combined the best efforts of ‘performance art’ and contemporary ‘living’ sculpture.
The side mirrors could rise and fall when necessary to admit choristers or other scenic elements, chief of which was a huge floating/spinning bed that bore our soon-to-be-unhinged heroine Medora. ‘Earth’ consisted of a long narrow platform that tracked in to intersect the water, and occasionaly bringing with it an enormous dining table put to good use as a symbolic prop and another level as a playing area.
The front of the stage was outfitted with gas jets, so when the invaders set the town on fire, Corrado summoned the flames Wotan-like to appear, and appear they did, creating a dazzling wall of fire between us and the players, brilliantly multiplied by the mirrors.
Mr. Fantin had a willing accomplice in costume designer Carla Teti, who not only handsomely outfitted her male cast in rather traditional period attire, but served up some fantastical robes for the chorus, and eye-popping, shiny red plastic ball gowns for Gulnara and the Damenchor’s first scene. The riot of color and movement created by these crimson reflections was evocative of strewn poppies being carried by the wind. Wow!
I am not sure how difficult it must be to light all of this effectively, what with all the possibilities for blinding the audience with all those shiny surfaces, but Martin Gebhardt’s lighting design was just remarkable in its many effects, not the least of which was a really decent general wash when required.
Carmen Giannattasio as Gulnara
Director Damiano Michieletto provided an assured staging that was lean and mean. He chose to confine the action to a smallish playing space for each scene, and to concentrate on intensely personal and specific interactions between the characters. What a concept! Actors listening to, and reacting to each other! If just this basic tenet caught on, many a Euro-trash production could improve 50%!
The tense duet between Seim and Gulnara was heightened to searing proportions by having the baritone unceremoniously heave her onto the dining table and begin to strangle her amid the fine china and flower arrangements, a shocking juxtaposition of uncivil behavior amid all the trappings of civility. Having Corrado and Medora play their entire first duet on her careening bed, not only added a hint of a carnal dimension, but more important, underscored and presaged her character’s fragility and instability. Throughout the night, Mr. Michieletto’s sure hand gave us telling stage pictures, focused drama, and (not inconsequential) wonderful traffic management of the large choral forces (singing dynamically under Chorus Master Jürg Hämmerli).
But all this would have been for naught had the music been ill-served, and here we were equally favored. For, as the Corsair of the title, Vittorio Grigolo is the real deal. There was not one moment that Mr. Grigolo was not fully committed to his portrayal, dramatically engaged, and interacting deferentially with his colleagues. He has a clean lyric tenor with some heft in the core sound, and while he is often singing at the limit of his current resources, the good news is he never attempts to exceed his capabilities. He is young, he is handsome, he is gifted with a meltingly beautiful instrument, and he is pacing himself well without ever stinting on emotionally-charged, arching lines. It is hoped that he does not just yet sing this role too often, or attempt such parts in a larger house, but note for note, this was star singing with superstar potential. Vittorio is a tenor to watch.
As Medora the reliable Elena Mosuc provided some bell-like fioriture and seamless flights above the staff. Her limpid tone was a terrific match for Grigolo’s in the warmly lyrical passages and she offered a very clear understanding of our heroine’s dramatic journey. In one of the few minor staging miscalculations, Ms. Mosuc’s superb vocalizing in her final mad scene was unnecessarily competing with the ladies sloshing through the water, strewing flowers (as noiselessly as they could, but distracting nonetheless). I would challenge the director to find a way to keep the wonderful effect but perhaps move it to a different moment.
Juan Pons as Seid
Carmen Giannattasio (Gulnara) was new to me and what discovery she was, taking the stage from her first entrance and commanding our attention with ravishing phrasing, assured histrionics, and complete command of early Verdi. Ms. Giannattasio’s dusky soprano has a hint of metal, meaning she crested the climaxes with fine effect. Early on, I worried I might tire of her no-nonsense delivery. But she soon proved herself capable of well-controlled introspective phrases and moments of hushed, haunting piannissimi. I hope to encounter her again.
Stalwart veteran Juan Pons as Seid is in the autumn of a long and distinguished career. Mr. Pons is still a formidable figure and consummate professional, and he performs with fearless bravado. If his substantial baritone still has the presence and volume of old, it has to be conceded that years of Scarpia’s and Tonio’s et al. have left the instrument a little woolly around the edges. But his imposing artistry proved a perfect foil for the three fresh-voiced “youngsters” in the cast.
And speaking of youth: in the pit young Eivind Gullberg Jensen led quite a stylish account of this equally youthful score. At all times, he displayed a real flair for the genre, and the maestro inspired his talented performers with an evident love of the piece. His belief in Verdi’s early effort was infectious and we all willingly succumbed to his committed rendition.
This hit performance of Il Corsaro (wildly cheered) offered sure-handed direction in a visually pleasing physical production married to superlative playing and singing that included a rising star tenor: the best of both worlds, indeed.