07 Jan 2010
Cendrillon in Marseille
Rare repertory but not truly rare, Massenet’s Cendrillon makes an appearance from time to time.
On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman theatre of Aspendos near Antalya in southern Turkey is not an arena or amphitheatre at all, so there are not nearly as many ghosts of gored gladiators or dismembered Christians to disturb the contemporary feng shui as in other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014 by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings
On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!
At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.
This elegant, smartly-paced film turns Gluck’s Orfeo into a Dostoevskian study of a guilt-wracked misanthrope, portrayed by American countertenor Bejun Mehta.
Ossia Il barbiere di Siviglia. Why waste a good tune.
In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.
Both by default and by merit Il barbiere di Siviglia is the hit of the thirty-fifth Rossini Opera Festival. But did anyone really want, and did the world really need yet another production of this old warhorse?
Armida (1817) is the third of Rossini’s nine operas for the Teatro San Carlo in Naples, all serious. The first was Elisabetta, regina di Inghilterra (1815), the second was Otello (1816), the last was Zelmira (1822).
Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.
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!