Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Samling Showcase, Wigmore Hall

Founded in 1996, Samling describes itself as a charity which ‘inspires musical excellence in young people’.

La cenerentola in San Francisco

The good news is that you don’t have to go all the way to Pesaro for great Rossini.

Rameau : Maître à danser - William Christie, Barbican London

Maître à danser: William Christie and Les Arts Florissants at the Barbican, London, presented a defining moment in Rameau performance practice, choreographed with a team of dancers. Maître à danser, not master of the dance but a master to be danced to: there's a difference. Rameau's music takes its very pulse from dance. Hearing it choreographed connects the movement in the music to the exuberant physical expressiveness that is dance.

Le Nozze di Figaro — or Sex on the Beach?

The most memorable thing (and definitely not in a good way) about this performance of Le Nozze di Figaro at the Serbian National Theatre in Belgrade was the self-serving, infantile, offensive and just plain wrong production by celebrated Serbian theatre director Jagoš Marković.

The Met mounts a well sung but dramatically unconvincing ‘Carmen’

Should looks matter when casting the role of the iconic temptress for HD simulcast?

Maurice Greene’s Jephtha

Maurice Greene (1696-1755) had a highly successful musical career. Organist of St. Paul’s Cathedral, a position to which he was elected when he was just 22 years-old, he later became organist of the Chapel Royal, Professor of Music at the University of Cambridge and, from 1735, Master of the King’s Music.

Tosca in San Francisco

Yet another Tosca is hardly exciting news, if news at all. The current five performances have come just two years after SFO alternated divas Angela Gheorghiu and Patricia Racette in the title role.

Antonin Dvořák: The Cunning Peasant (Šelma Sedlák)

What an enjoyable opportunity to encounter Dvořák’s sixth opera, Šelma Sedlák¸or The Cunning Peasant!

Idomeneo, Royal Opera

Whether biblical parable or mythological moralising, it’s all the same really: human hubris, humility, sacrifice and redemption.

Donizetti’s Les Martyrs — Opera Rara, London

Opera Rara brought a rare performance of Donizetti’s first opera for the Paris Opera to the Royal Festival Hall on 4 November 2014, following recording sessions for the opera.

Luca Pisaroni in San Diego

Bass baritone, Luca Pisaroni, known to opera lovers throughout the world for his excellence in Mozart roles, offered San Diego vocal aficionados a double treat on October 28th: his mellifluous voice, and a recital of German songs.

La bohème, ENO

Jonathan Miller’s production of La bohème for ENO, shared with Cincinnati Opera, sits uneasily, at least as revived by Natascha Metherell, between comedy and tragedy.

Florian Boesch, Wigmore Hall - Liszt, Strauss and Schubert

Any Florian Boesch and Malcolm Martineau performance is superb, but this Wigmore Hall recital surprised, too. Boesch's Schubert is wonderful, but this time, it was his Liszt and Strauss songs which stood out. This year at the Wigmore Hall, we've heard a lot of Liszt and a lot of Richard Strauss everywhere, establishing high standards, but this was special.

Wexford Festival 2014

The weather was auspicious for Wexford Festival Opera’s first-night firework display — mild, clear and calm. But, as the rainbow rockets exploded over the River Slaney, even bigger bangs were being made down at the quayside.

The Met’s ‘Le Nozze di Figaro’ a happy marriage of ensemble singing and acting

The cast of supporting roles was especially strong in the company’s new production of Mozart’s matchless masterpiece

Syracuse Opera’s ‘Die Fledermaus’ bubbles over with fun, laughter and irresistible music

The company uncorks its 40th Anniversary season with a visually and musically satisfying production of Johann Strauss Jr.’s farcical operetta

Capriccio at Lyric Opera of Chicago

Although performances of Richard Strauss’s last opera Capriccio have increased in recent time, Lyric Opera of Chicago has not experienced the “Konversationsstück für Musik” during the past twenty odd years.

Anna Netrebko, now a dramatic soprano, shines in the Met’s dark and murky ‘Macbeth’

The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission

Arizona Opera Presents First Mariachi Opera

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.

Plácido Domingo: I due Foscari, London

“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.

OPERA TODAY ARCHIVES »

Reviews

Richard Strauss
18 Jan 2010

Elektra at the Barbican

Concert performances of operas are often problematic in that the work tends to be cut or otherwise played around with, or the venue is inappropriate - after all, these were meant to be staged pieces.

Richard Strauss: Elektra

Elektra: Jeanne-Michèle Charbonnet; Chrysothemis: Angela Denoke; Clytemnestra: Felicity Palmer; Orestes: Matthias Goerne; Aegisthus: Ian Storey. London Symphony Orchestra. Conductor: Valery Gergiev. London Symphony Chorus.

 

The LSO’s Elektra under Gergiev really had only one problem, which was that the orchestra was frequently too loud, and when you have a team of singers amongst whom only the Clytemnestra, the Oreste and the Second Maid actually manage to ride consistently over it, you have a somewhat unbalanced evening. It was bound to be so - Strauss’ orchestral requirement is huge, and the band really must be in a pit or there must be some other way devised to protect the singers from it.

This is not to say that distinguished playing was absent - far from it, since the LSO under Gergiev gave a searing performance, often responding to their conductor as though their lives depended on it, and achieving the all too rare distinction of making one hear parts of the music anew. If this was at the cost of a less lyrical, less poetic interpretation in parts, then it was a worthwhile one.

Jeanne-Michèle Charbonnet’s Elektra was new to me, and she certainly chewed up the carpet in histrionic terms, gyrating all over the place and generally giving her all, but her voice frequently had trouble in surmounting the vast sounds coming from behind. Her finest moments were in the address to the shade of Agamemnon, ‘die um sein hohes Grab / so königliche siegestänze tanzen!’ projected with bitter ecstasy, and her almost hypnotic incantation of ‘Der ist selig, der seine Tat zu tun kommt’ to her brother at the crucial moment of decision.

It surprised me that Matthias Goerne was singing Oreste, not because his voice isn’t right for the role, but because it’s such a small part for him - perhaps his Speaker in Die Zauberflöte has given him a taste for tiny yet significant roles. This was an Oreste of brooding presence and stentorian authority, and even if we did miss a little of the more moving qualities of the recognition scene, it was a nobly conceived interpretation.

Angela Denoke certainly has what most would term ‘a Strauss soprano voice,’ and she used it most movingly in ‘Eh ich sterbe, will ich auch leben!’ providing both a tonal and dramatic contrast to her sister - the final cries of ‘Orest! Orest!’ though, could have been more gripping. Felicity Palmer’s Clytemnestra is now a classic interpretation, her grim delivery and absolute mastery of the characterization in a world of their own - why, one almost felt a grudging sympathy for the frightful old bat as she sang of her terrible nightmares.

Ian Storey did what he could with Aegisthus, but it’s never really going to work if the character simply strolls off when he dies - another problem with this kind of staged opera. The Maids were a strong group, with Ekaterina Sergeeva the most expressive and forceful, and Vuyani Mlinde’s Servant / Companion further enhanced his status as one of our finest bass soloists - he first impressed me at the RCM in 2005, and he has not disappointed since.

The audience was as crammed in the hall as the orchestra on stage, so much so that the LSO chorus had to occupy one of the side aisles, with surprisingly little diminution of the intensity needed during that final cleansing of the House of Atreus.

Melanie Eskenazi

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):