07 Jan 2010
Cendrillon in Marseille
Rare repertory but not truly rare, Massenet’s Cendrillon makes an appearance from time to time.
The Wigmore Hall complete Schubert song series continued with a recital by Georg Nigl and Andreas Staier. Staier's a pioneer, promoting the use of fortepiano in Schubert song. In Schubert's time, modern concert pianos didn't exist. Schubert and his contemporaries would have been familiar with a lighter, brighter sound. Over the last 30 years, we've come to better understand Schubert and his world through the insights Staier has given us. His many performances, frequently with Christoph Prégardien at the Wigmore Hall, have always been highlights.
On 9 January 2017 the London Festival of Baroque Music (formerly the Lufthansa Festival of Baroque Music) announced its programme for 2017. The Festival theme for 2017 is Baroque at the Edge. Inspired by the anniversaries of Monteverdi (450th of birth) and Telemann (250th of death) the Festival explores the ways that composers and performers have pushed at the chronological, stylistic, geographical and expressive boundaries of the Baroque era.
On Thursday 19th January, opera lovers around the world started bidding online for rare and prized items made available for the first time from Opera Rara’s collection. In addition to the 26 lots auctioned online, 6 more items will be made available on 7 February - when online bidding closes - at Opera Rara’s gala dinner marking the final night of the auction. The gala will be held at London’s Caledonian Club and will feature guest appearances from Michael Spyres and Joyce El-Khoury.
Classical Opera’s MOZART 250 project has reached the year 1767. Two years ago, the company embarked upon an epic, 27-year exploration of the music written by Mozart and his contemporaries exactly 250 years previously. The series will incorporate 250th anniversary performances of all Mozart’s important compositions and artistic director Ian Page tells us that as 1767 ‘was the year in which Mozart started to write more substantial works - opera, oratorio, concertos this will be the first year of MOZART 250 in which Mozart’s own music dominates the programme’.
‘[T]hey moderated or increased their voices, loud or soft, heavy or light according to the demands of the piece they were singing; now slowing, breaking of sometimes with a gentle sigh, now singing long passages legato or detached, now groups, now leaps, now with long trills, now with short, or again, with sweet running passages sung softly, to which one sometimes heard an echo answer unexpectedly. They accompanied the music and the sentiment with appropriate facial expressions, glances and gestures, with no awkward movements of the mouth or hands or body which might not express the feelings of the song. They made the words clear in such a way that one could hear even the last syllable of every word, which was never interrupted or suppressed by passages or other embellishments.’
An exceptional Wagner Der fliegende Holländer, so challenging that, at first, it seems shocking. But Kasper Holten's new production, currently at the Finnish National Opera, is also exceptionally intelligent.
A welcome addition to Lyric Opera of Chicago’s roster was its recent production of Jules Massenet’s Don Quichotte.
800 years ago, every book was a precious treasure - ‘written on skin’. In George Benjamin’s and Martin Crimp’s 2012 opera, Written on Skin, modern-day archivists search for one such artefact: a legendary 12th-century illustrated vanity project, commissioned by an unnamed Protector to record and celebrate his power.
It was like a “Date Night” at Staatsoper unter den Linden with its return of Eike Gramss’ 2012 production of Puccini’s Madama Butterfly. While I entered the Schiller Theater, the many young couples venturing to the opera together, and emerging afterwards all lovey-dovey and moved by Puccini’s melodramatic romance, encouraged me to think more positively about the future of opera.
For the Late Night concert after the Saturday series, fifteen Berliners backed up Barbara Hannigan in yet another adventurous collaboration on a modern rarity with Simon Rattle. I was completely unfamiliar with the French composer, but the performance tonight made me fall in love with Gérard Grisey’s sensually disintegrating soundscape Quatre chants pour franchir le seuil, or “Fours Songs to cross the Threshold”.
One of the things I love about the Philharmonie in Berlin, is the normalcy of musical excellence week after week. Very few venues can pull off with such illuminating star wattage. Michael Schade, Anne Schwanewilms, and Barbara Hannigan performed in two concerts with two larger-than-life conductors Thielemann and Rattle. We were taken on three thrilling adventures.
Lyric Opera of Chicago’s original and superbly cast production of Hector Berlioz’s Les Troyens has provided the musical public with a treasured opportunity to appreciate one of the great operatic achievements of the nineteenth century.
The Little Opera Company opened its 21st season by championing its own, as it presented the world premiere of Winnipeg composer Neil Weisensel’s Merry Christmas, Stephen Leacock.
In 2015, Bampton Classical Opera’s production of Salieri’s La grotta di Trofonio - a UK premiere - received well-deserved accolades: ‘a revelation ... the music is magnificent’ (Seen and Heard International), ‘giddily exciting, propelled by wit, charm and bags of joy’ (The Spectator), ‘lively, inventive ... a joy from start to finish’ (The Oxford Times), ‘They have done Salieri proud’ (The Arts Desk) and ‘an enthusiastic performance of riotously spirited music’ (Opera Britannia) were just some of the superlative compliments festooned by the critical press.
How many singers does it take to make an opera? There are single-role operas - Schönberg’s Erwartung (1924) and Eight Songs for a Mad King by Peter Maxwell Davies (1969) spring immediately to mind - and there are operas that just require a pair of performers, such as Rimsky-Korsakov’s Mozart i Salieri (1897) or The Telephone by Menotti (1947).
Now in its 31st year, the 2016 Christmas Festival at St John’s Smith Square has offered sixteen concerts performed by diverse ensembles, among them: the choirs of King’s College, London and Merton College, Oxford; Christchurch Cathedral Choir, Oxford; The Gesualdo Six; The Cardinall’s Musick; The Tallis Scholars; the choirs of Trinity College and Clare College, Cambridge; Tenebrae; Polyphony and the Orchestra of the Age of the Enlightment.
As 2016 draws to a close, we stand on the cusp of a post-Europe, pre-Trump world. Perhaps we will look back on current times with the nostalgic romanticism of Richard Strauss’s 1911 paean to past glories, comforts and certainties: Der Rosenkavalier.
Ah, Loft Opera. It’s part of the experience to wander down many dark streets, confused and lost, in a part of Brooklyn you’ve never been. It is that exclusive—you can’t even find the performance!
Let’s start by getting a couple of gripes out of the way. First, the final act of Die Walküre does not constitute a full-length concert, even with a distinguished cast and orchestra, and with animated drawings fluttering on a giant screen.
When you combine two charismatic New York stage divas with the artistry of Los Angeles Opera, you have a mix that explodes into singing, dancing and an evening of superb entertainment.
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!