07 Jan 2010
Cendrillon in Marseille
Rare repertory but not truly rare, Massenet’s Cendrillon makes an appearance from time to time.
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
Rare repertory but not truly rare, Massenet’s Cendrillon makes an appearance from time to time.
One of the more notable recent revivals occurred at the Opéra National du Rhin (Strasbourg) in 2003 in the mise en scène of French born director/choreographer Renaud Doucet and Canadian designer André Barbe. The production is well traveled, including a stopover at the New York City Opera two years ago, and just now it was again revived in a splendid evening in Marseille (December 29.)
This staging team is far better known in the U.S. and Canada than in Europe, in fact the entire 2009-2010 four opera season of Florida Grand Opera (Miami) consists of stagings by Messieurs Doucet and Barbe. Was it not in the 1950’s that the exodus to Florida began?
The Doucet/Barbe Cendrillon looks backwards at the fabulous American 50’s, our out-sized and shiny kitchen appliances, our long and sleek automobiles, the giant juke boxes and the big screens for our Hollywood movies. Like all French glances at the U.S. this one too is vaguely anti-American, rubbing it in that though we may have all these flashy contraptions we do not have royalty and titles — i.e. breeding, that which money cannot buy.
Thus at the center of the Doucet/Barbe production is the American princess, Grace Kelly whose kingdom, Monaco, is just down the road from Marseille, and whose fairy tale royal marriage filled the giant black and white movie screen suspended from a branch of Massenet’s giant, magical third act oak tree. The coloratura incantations of Cinderella’s fairy godmother had brought the Prince and Cinderella together for a vocally sumptuous if chaste seduction scene at the drive-in movies.
The Doucet/Barbe production wore its concept like the skin-tight, low-cut gown of the 1953 Calendar girl hanging above the juke box. Cinderella, here named Lucette, emerged scrubbing, from the oven of a giant Admiral [brand name] stove, the giant kitchen radio expelled first the magical tones and then the personage of her fairy godmother. Per the fairy tale the dream soon vanished. Lucette awakened among endless rows of the cracker-box homes of an American subdivision, only to find herself soon again at the Prince[ton] ball (get it? — he had a P on his varsity sweater).
In Marseille conductor Cyril Diederich made Massenet’s marvelous score move seamlessly from the opera buffa fantasies of Lucette’s father and her stepmother and stepsisters to the late nineteenth century style opera seria heartrending outpourings of Cinderella, from the musical banality of balletic processions to the kinetic brilliance of above-the-staff singing. You had to pinch yourself to keep from believing it to be the most delightful Rosenkavalier you could possibly imagine. After his initial downbeat Mo. Diederich’s Cendrillon never touched ground, vindicating Massenet’s score as the most magnificent of French musical confections after Hoffmann!
The stage was in fact seen through the distorted lens of a crystal ball, somethings huge, somethings small, nothing as it really is. The costumes were fabulous exaggerations too, only Cinderella was left in a plain, gray skirt and sweater. But were those the colors (pinks, purples and greens) and shapes of the 1950’s? Certainly Messieurs Doucet and Barbe did their research, and certainly knowingly threw in some of the electric colors of the 60’s, and a pure 60’s Cadillac grill at the drive-in movies to boot.
Singing is solid in Marseille, and this Cendrillon was no exception. Canadian born, Juilliard trained mezzo soprano Julie Boulianne was Lucette, her beautifully even, bronze-hued tone was easy to imagine as the ideal singing voice of the regal Grace Kelly, plus she possesses a fine upper extension able to project Massenet’s very occasional sentimental exuberance. Her studied polish however betrayed her artistic youth. Prince Charming was Canadian tenor Frédéric Antoun who trained at Philadelphia’s Curtis Institute and is a veteran of the New York City Opera production. He is handsome, brooding and accomplished, and just right for twisted takes on the heroes of his fach (Almaviva, Tamino, Nemorino, etc.).
Baritone Francois Le Roux took Pandolfe (Lucette’s father) well beyond the caricature of his costume to the highest level of later buffo style, magnifying ever word and smallest feeling to truly human proportion. Lilana Faraon was the Fairy Godmother of your dreams, her coloratura impeccable, her diminutive figure irreale and her energy indefatigable. Veteran Marseille mezzo soprano Marie-Ange Todorovitch made hay of singing a comic role for once (she is most often the stalwart heavy-duty mezzo in Marseille), and Julie Mossay and Diana Axentil were truly believable Miami Beach adolescent females.
Choreographer Doucet’s production requires four zany ballerinas and three beautiful female jugglers, and a lively small chorus that does not mind executing a few dance steps, not to mention a brief pas de trois by the stepmother and stepsisters. In Marseille the Doucet/Barbe production achieved a near perfect balance of real and irreale, of humor and sentiment, and of spoof and beloved fairytale,
Massenet’s original Prince Charming is a soprano trouser role to be sung by a so-called Falcon soprano, a dark-toned French soprano voice, though in modern productions it is most often transposed for a male voice, satisfying current, particularly French sensibilities. The 1983 New York City Opera production though used a female Prince Charming (Suzanne Marsee) to reportedly wonderful effect.
This same 1983 NYCO production marked the first use of supertitles in the occidental world. Then NYCO general director Beverly Sills had seen supertitles used in Chinese opera in Peking and thought it might be a good idea to let her audiences know what was happening in this unfamiliar opera while it was happening. Now, a mere twenty-five years later, in spite of the excellent diction of the all Francophone cast, even in Marseille this Cendrillon was supertitled!