Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Aïda at Aspen

Most opera professionals, including the individuals who do the casting for major houses, despair of finding performers who can match historical standards of singing in operas such as Aïda. Yet a concert performance in Aspen gives a glimmer of hope. It was led by four younger singers who may be part of the future of Verdi singing in America and the world.

Prom 53: Shostakovich — Orango

One might have been forgiven for thinking that both biology and chronology had gone askew at the Royal Albert Hall yesterday evening.

Written on Skin at Lincoln Center

Three years ago I made what may have been my single worst decision in a half century of attending opera. I wasn’t paying close attention when some conference organizers in Aix-en-Provence offered me two tickets to the premiere of a new opera. I opted instead for what seemed like a sure thing: William Christie conducting some Charpentier.

Pesaro’s Rossini Festival 2015

The 36th Rossini Opera Festival in Rossini’s Pesaro! La gazza ladra (1817), La gazzetta (1816) and L'inganno felice (1812) — the little opera that made Rossini famous.

Santa Fe: Placid Princess of Judea

Unlike the brush fire in a distant neighborhood of the John Crosby Theatre, Santa Fe Opera’s Salome stubbornly failed to ignite.

Airy and Bucolic Glimmerglass Flute

As part of a concerted effort to incorporate local color and resonance into its annual festival, Glimmerglass has re-imagined The Magic Flute in a transformative woodland setting.

Glimmerglass Conquers Cato

Bravura singing and vibrant instrumental playing were on ample display in Glimmerglass Festival’s riveting Cato in Utica.

Energetic Glimmerglass Candide

Bernstein’s Candide seems to have more performance versions than Tales of Hoffmann.

Die Eroberung von Mexico in Salzburg

That’s The Conquest of Mexico, an historical music drama composed in 1991 by German composer Wolfgang Rihm (b. 1952). But wait. Wolfgang Rihm construed a few sentences of Artaud’s La Conquête du Mexique (1932) mixed up with bits of Aztec chant and bits of poem(s) by Mexico’s Octavio Paz (d. 1998) to make a libretto.

Scottish Sensation at Glimmerglass

Glimmerglass is celebrating its 40th Festival season with a stylish new production of Verdi’s Macbeth.

Norma in Salzburg

This Salzburg Norma is not new news. This superb production was first seen at the Salzburg Festival’s springtime Whitsun Festival in 2013 with this same cast. It will now travel to a few major European cities.

The power of music: a young cast in a semi-stage account of Monteverdi’s first opera

John Eliot Gardiner conducted a much anticipated performance of Monteverdi’s first opera L’Orfeo at the BBC Proms on 4 August 2015, with his own Monteverdi Choir and English Baroque Soloists.

Cold Mountain Wows Audience at Santa Fe World Premiere

On August 1, 2015, Santa Fe Opera presented the world premiere of Cold Mountain, a brand new opera composed by Pulizer Prize and Grammy winner Jennifer Higdon.

Review: You Promised Me Everything

Richard Taruskin entitled his 1988 polemical critique of the notion of ‘authenticity’ in the context of historically informed performance, ‘The Pastness of the Present and the Presence of the Past’.

Manon Lescaut, Munich

Puccini’s Manon Lescaut at the Bayerische Staatsoper, Munich. Some will scream in rage but in its austerity it reaches to the heart of the opera.

Proms Saturday Matinée 1

It might seem churlish to complain about the BBC Proms coverage of Pierre Boulez’s 90th anniversary. After all, there are a few performances dotted around — although some seem rather oddly programmed, as if embarrassed at the presence of new or newish music. (That could certainly not be claimed in the present case.)

The Maid of Pskov (Pskovityanka) , St. Petersburg

I recently spent four days in St. Petersburg, timed to coincide with the annual Stars of the White Nights Festival. Yet the most memorable singing I heard was neither at the Mariinsky Theater nor any other performance hall. It was in the small, nearly empty church built for the last Tsar, Nicholas II, at Tsarskoye Selo.

Prom 11 — Grange Park Opera: Fiddler on the Roof

As I walked up Exhibition Road on my way to the Royal Albert Hall, I passed a busking tuba player whose fairground ditties were enlivened by bursts of flame which shot skyward from the bell of his instrument, to the amusement and bemusement of a rapidly gathering pavement audience.

Saul, Glyndebourne

A brilliant theatrical event, bringing Handel’s theatre of the mind to life on stage

Roberta Invernizzi, Wigmore Hall

‘Here, thanks be to God, my opera is praised to the skies and there is nothing in it which does not please greatly.’ So wrote Antonio Vivaldi to Marchese Guido Bentivoglio d’Aragona in Ferrara in 1737.

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):