07 Jan 2010
Cendrillon in Marseille
Rare repertory but not truly rare, Massenet’s Cendrillon makes an appearance from time to time.
The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission
Houston Grand Opera commissioned Cruzar la Cara de la Luna from composer José “Pepe” Martínez, music director of Mariachi Vargas de Tecalitlán, who wrote the text together with Broadway and opera director Leonard Foglia. The work had its world premier in 2010. Since then, it has traveled to several cities including Paris, Chicago, and San Diego.
“Why should I go to hear Plácido Domingo” someone said when Verdi’s I due Foscari was announced by the Royal Opera House. There are very good reasons for doing so.
Music Theatre Wales presented the world premiere of Philip Glass’s The Trial (Kafka) last night at the Linbury, Royal Opera House. Music Theatre Wales started doing Glass in 1989. Their production of Glass’s In the Penal Colony in 2010 was such a success that Glass conceived The Trial specially for the company.
To say that the English Concert’s performance of Handel’s Alcina at the Barbican on 10 October 2014 was hotly anticipated would be an understatement. Sold out for weeks, the performance capitalised on the draw of its two principals Joyce DiDonato and Alice Coote and generated the sort of buzz which the work did at its premiere.
The subject is regicide, a hot topic during the Italian risorgimento when the Italian peninsula was in the grip of the Hapsburgs, the Bourbons, the House of Savoy and the Pontiff of the Catholic Church.
Lyric Opera of Chicago opened its sixtieth anniversary season with a new production of Mozart’s Don Giovanni directed by Artistic Director of the Goodman Theater, Robert Falls.
It was a little over two years ago that I heard Sir Colin Davis conduct the Berlioz Requiem in St Paul’s Cathedral; it was the last time I heard — or indeed saw — him conduct his beloved and loving London Symphony Orchestra.
Part of their Liberty or Death season along with Rossini’s Mose in Egitto and Bizet’s Carmen, Welsh National Opera performed David Pountney’s new production of Rossini’s Guillaume Tell (seen 4 October 2014).
Welsh National Opera’s production of Rossini’s Mose in Egitto was the second of two Rossini operas (the other is Guillaume Tell) performed in tandem for their autumn tour.
In Monteverdi’s first Venetian opera, Il Ritorno d’Ulisse (1641), Penelope’s patient devotion as she waits for the return of her beloved Ulysses culminates in the triumph of love and faithfulness; in contrast, in L’incoronazione di Poppea it is the eponymous Queen’s lust, passion and ambition that prevail.
After the triumphs of love, the surprises: Les Paladins, under their director Jérôme Correas, and soprano Sandrine Piau are following their tour of material from their 2011 CD, ‘Le Triomphe de L’amour’, with a new amatory arrangement.
At the ENO, Puccini's La fanciulla del West becomes The Girl of the Golden West. Hearing this opera in English instead of Italian has its advantages, While we can still hear the exotic, Italianate Madama Butterfly fantasies in the orchestra, in English, we're closer to the original pot-boiler melodrama. Madama Biutterfly is premier cru: The Girl of the Golden West veers closer, at times, to hokum. The new ENO production gets round the implausibility of the plot by engaging with its natural innocence.
Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.
Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
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!