17 Jan 2010
Carmen at the MET
Elina Garanča conceals her gleaming gold tresses beneath a curly black wig to sing Carmen.
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.
Elina Garanča conceals her gleaming gold tresses beneath a curly black wig to sing Carmen.
Nearly everything else is on display, from the legs she bathes shamelessly while singing the “Habañera” to the shoulders she bares — in daylight hours? in Spain? — in her ruffled Act IV gown. As the Latvian mezzo soprano is a beautiful woman, a fine actress and dancer with a voice of great warmth and sheen — and fill-the-house power when she chooses to unleash it — no one could object to her performance as Bizet’s eternal Gypsy. True, she is on the sexually aggressive side among Carmens and I find more convincing the casual approach of Olga Borodina, unimpressed by the ogling men around her. Borodina’s Carmen seemed her own woman, making her own choices, one of which might be love. This seems a less cliché way of playing the character. Most Carmens work too hard, as if men’s opinions mattered to them, and Garanča, though with her looks she hardly has to work — anyone would stare — edges towards that sort of show-off Carmen. I presume she does things like snap her cleavage from stage center because she has been directed to do so and because the performance was the camera-dress, the last before the live high-definition telecast.
>Mariusz Kwiecien as Escamillo
Nor did Garanča’s self-conscious sex appeal get in the way of her singing: The “Habañera” was a parade, the “Seguidilla” intimate, the dance for Don José very hot, the fortune-telling very earthy — crouched over her cards, lacking any sort of glamour, she held every eye and ear in the house. She was not only the centerpiece but the only vocally irreproachable star of the performance. Roberto Alagna, who used to be a first-rate Don José, sounded strained, flat on exposed notes (such as the last of “Dragon d’Alcala”), and ill-adjusted to register breaks, though of course he had the best French of the evening. His acting was passionate, and he pulled himself together for a murderous final confrontation. Barbara Frittoli had trouble placing her notes in the Act I duet with Alagna, sounding uncertain and lacking force, though she brought down the house in Act III. Mariusz Kwiecien looked elegant as Escamillo, but sang with that rough bark he often uses these days, instead of the wonderful — often wonderfully sinister — leggiero sound he makes when singing Mozart. Small roles were filled ably and, in the case of Keith Miller, a commanding Zuniga, rather better than that.
I’ve been bitching for some time about new Met productions that are not only weird but whimsically so, so that future performers will be straitjacketed into their weirdness; so when a new production like this comes along of one of the repertory staples, a production that could easily be inhabited by the varying interpretations of many singers, I’d be rank ungrateful to complain that it lacks a point of view. Richard Eyre has chosen to tell Bizet’s story — not his own irrelevant story — in handsome stage pictures with no interpolated funny business, and I applaud. Even posing for a photographer in Act IV comes at a moment when it does not interrupt the music and the character — Escamillo — might believably pose for a photographer.
Barbara Frittoli as Micaela and Roberto Alagna as Don José
What did irritate me a bit — but this is part of the standard approach to the classics in our era — is that the direction has tightened the screws of sexual and other kinds of brutality. Soldiers cannot casually flirt with naïve Micaela — they threaten to rape her the moment she appears, and she narrowly escapes. The smugglers do not gallantly tie Zuniga up in their den — they torture him a bit just for the hell of it, while singing the gallant phrases of the superb Meilhac and Halévy libretto. The period of the piece has been advanced, it seems, to the era of Spain’s Second Republic, just before the Civil War, and perhaps we are to understand the tension between soldiers and civilians, smugglers and the law, as a foretaste of the horrors to come — I don’t know.
Elina Garanča as Carmen and Roberto Alagna as Don José
Two dancers, perhaps representing archetypal Male and Female or Yang and Yin or the infertile stage director and his Muse or a desperate attempt to give Christopher Wheeldon something to do, make a nuisance of themselves during the preludes to Acts I and III.
Yannick Nézet-Séguin conducted with terrific verve and snap, and I would have preferred to concentrate on his music-making when those dancers were making such a spectacle of themselves. The Act III prelude, in particular, is such a lovely, graceful mountain pastorale and leads so perfectly into the scene of shattering bliss that follows that staging it seems wildly intrusive.