Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

The Marriage of Figaro, LA Opera

On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.

The Tempest Songbook, Gotham Chamber Opera

Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to explore the possibilities of unconventional spaces and unconventional programs that the company has made its hallmark. The results were musically and theatrically thought-provoking, and left me wanting more.

San Diego Opera presents Adams’ Riveting Nixon in China

Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.

Ars Minerva presents Castrovillari’s La Cleopatra in San Francisco

It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.

An Ideal Cast in Chicago’s Tannhäuser

Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.

Madame Butterfly, Royal Opera

Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.

Tosca in Marseille

Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.

Poetry beyond words — Nash Ensemble, Wigmore Hall

The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.

Arizona Opera Presents Magritte Style Magic Flute

On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.

Henry Purcell: A Retrospective

There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.

Die Meistersinger and The Indian Queen
at the ENO

It has been a cold and gray winter in the south of France (where I live) made splendid by some really good opera, followed just now by splendid sunshine at Trafalgar Square and two exquisite productions at English National Opera.

Rise and Fall of the City of Mahagonny, Royal Opera

At long last, Rise and Fall of the City of Mahagonny has come to the Royal Opera House. Kurt Weill’s teacher, Busoni, remains scandalously ignored, but a season which includes house firsts both of this opera and Szymanowsi’s King Roger, cannot be all bad.

How to Write About Music: The RILM Manual of Style

RILM Abstracts of Music Literature is an international database for musicological and ethnomusicological research, providing abstracts and indexing for users all over the world. As such, RILM’s style guide (How to Write About Music: The RILM Manual of Style) differs fairly significantly from those of more generalized style guides such as MLA or APA.

Unsuk Chin: Alice in Wonderland, Barbican, London

Unsuk Chin’s Alice in Wonderland returned to the Barbican, London, shape-shifted like one of Alice’s adventures. The BBC Symphony Orchestra was assembled en masse, almost teetering off stage, creating a sense of tension. “Eat me, Drink me”. Was Lewis Carroll on hallucinogens or just good at channeling the crazy world of the subconscious?

Welsh National Opera: The Magic Flute and Hansel and Gretel

Dominic Cooke’s 2005 staging of The Magic Flute and Richard Jones’s 1998 production of Hansel and Gretel have been brought together for Welsh National Opera’s spring tour under the unifying moniker, Spellbound.

A worthy tribute for a vocal seductress of the ancient régime

Carolyn Sampson has long avoided the harsh glare of stardom but become a favourite singer for “those in the know” — and if you are not one of those it is about time you were.

Double bill at Guildhall

Gaetano Donizetti and Malcolm Arnold might seem odd operatic bedfellows, but this double bill by the Guildhall School of Music and Drama offered a pair of works characterised by ‘madness, misunderstandings and mistaken identity’ which proved witty, sparkling and imaginatively realised.

LA Opera: Barber of Seville

Saturday, February 28, 2015, was the first night for Los Angeles Opera’s revival of its 2009 presentation of The Barber of Seville, a production by Emilio Sagi, which comes originally from Teatro Real in Madrid in cooperation with Lisbon’s Teatro San Carlos. Sagi and onsite director, Trevor Ross, made comedy the focus of their production and provided myriad sight gags which kept the audience laughing.

Marie-Nicole Lemieux, Wigmore Hall

Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me … I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.

Eine florentinische Tragödie and I pagliacci in Monte-Carlo

An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.

OPERA TODAY ARCHIVES »

Reviews

Toby Spence as Tom Rakewell [Photo by Johan Persson courtesy of the Royal Opera House]
25 Jan 2010

London’s Rambunctious Rake

Covent Garden has revived director Robert Lepage’s popular and well-traveled version of The Rake’s Progress with often thrilling results.

Igor Stravinsky: The Rake’s Progress

Trulove: Jeremy White; Anne Trulove: Rosemary Joshua; Tom Rakewell: Toby Spence; Nick Shadow: Kyle Ketelsen; Mother Goose: Frances McCafferty; Baba the Turk: Patricia Bardon; Sellem: Graham Clark. Royal Opera. Conductor:

Above: Toby Spence as Tom Rakewell

All photos by Johan Persson courtesy of the Royal Opera House

 

First and foremost, the Royal Opera House’s Rake boasts an A-list cast that is as fine as can currently be assembled. Of especial interest to me was young bass Kyle Ketelsen’s role debut as Nick Shadow. He definitely did not disappoint. Mr. Ketelsen always offers a consistent, rich, and suave tonal delivery and he is possessed of one of the most secure techniques of any voice heard before the public today.

His is a sizable instrument which can easily ring out in the house one minute, and scale back to a hushed, intense sotto voce the next. He bought his usual intelligence and superb musicianship to bear in what has to be considered a major role assumption in his growing repertoire (and reputation). As wonderful as is his vocalizing, Kyle also scores big — make that waaaaaay big — as an actor. In fact, I would be hard pressed to think of any male singer active that is his equal for stage presence, character delineation, vocal color, uninhibited movement, and dramatic understanding. The card scene could have served as Masters Class in theatrical nuance.

Repeated performances and even more experience will only deepen his already commendable interpretation. You heard it from me: Kyle Ketelsen will be the Nick Shadow of choice for future productions. I am not alone, the entire audience roared its approval with a vociferous ovation.

Happily, he was in great company. Toby Spence as Tom Rakewell served up splendid, secure singing all evening, and he managed to touch me deeply in his final scene as no one has before. My previous outing with the staged opera was limited to two disparate but troublesome productions in Aix and Salzburg respectively, but both starring the late Jerry Hadley in one of his best roles.

Although Jerry had more squillo in his voice, the concepts sadly kept him on the surface of the role. Mr. Spence was able to delve deeply into the character’s psyche, and while he appears and acts suitably boyish, his real-time maturity has been deployed effectively in defining Tom’s life journey and descent into madness.

He is a highly accomplished lyric tenor to be sure, but like many such well-schooled light voices, the artist can be counted upon to deliver more in the area of consistency of pleasing tone, than can be easily offered in terms of varied dramatic utterance. It is to his credit that he used his considerable acting skill to create a plausible illusion of varied tonal color.

ROH_00014.pngToby Spence as Tom Rakewell and Rosemary Joshua as Anne Trulove

Another brilliant lyric voice and vibrant stage presence was on hand in the person of Rosemary Joshua’s Anne. This wonderful artist goes from strength to strength and she, too, has an awesome arsenal of technical skills at her command. Just listen to her soaring fearlessly through the most angular phrases and meandering melismas, and then turn around to melt our hearts with utterly focused limpid singing of the first order. Kate Royal had been advertised for the part, but while Ms. Joshua offers a slightly more mature take on the role, she is slim, lovely, and still has the Wow Factor for me, as when I first heard her Cleopatra in Miami and said “Wow, who is this fabulous soprano?”

Patricia Bardon, a veteran of the 2008 mounting of this production, returned as Baba the Turk and successfully managed her rich bottom range and ringing top to deliver a fully committed traversal of one of opera’s most unique characters. She looked smashing, too, pulling off the difficult task of being bearded but yet seeming alluringly sexy. Stalwart comprimario Graham Clark treated us to a vocally secure and theatrically vibrant turn as the auctioneer Sellem, and company principal Jeremy White was solid of voice and stature as Trulove. Frances McCafferty seemed game to do anything (and did) as a randy Mother Goose, although there were a few frayed notes at the extremes of the range.

The orchestra had a remarkably fine night, not only playing the rhythmically challenging score cleanly, but also investing Stravinsky’s masterpiece with all the vibrant panache and passion it needs to make its mark. This can be attributed to the controlled baton of Ingo Metzmacher. I have encountered the maestro’s work on several occasions now. He is never less than inspired, and his musical stewardship is never less than remarkable. It is pleasure to watch his star on the rise.

ROH_01157.pngKyle Ketelsen as Nick Shadow

Stage director Rober Lepage is always preceded by his large reputation, and for once it is a reputation founded on thoughtful experimentation informed by a respect for the original work. Mr. Lepage’s interpretation of this challenging piece is never less than hugely entertaining and ultimately it is enormously affecting. He has managed to find the honesty in Auden’s dark humor, and delivered some well-calculated laughs all the while retaining the underlying serious narrative. He was ably abetted in this fanciful pursuit by the witty set design of Carl Fillion; the colorful, characterful costumes by François Barbeau; and the evocative lighting devised by Boris Firquet. (It should be noted that Sybille Wilson has directed the revival, presumably with fidelity to the original staging.)

The production team has loosely devised their vision around a concept of Hollywood in its (now-) glorified heyday, with nods to such iconic films as Sunset Boulevard, The Snake Pit, Destry Rides Again, A Star is Born, among others. Nick Shadow is presented as an old school film director, a veritable Cecil B. De-vil, often riding herd and riding high over the proceedings from a camera crane and therefrom controlling the fates of his players.

This decidedly allowed for many images of great resonance, and some wholly engaging set changes which we came to anticipate with relish. I will never forget the slow inflation of Tom’s blow-up Hollywood star dressing trailer, or the disappearance of the lasciviously poised Goose and Tom as they sunk through the center of the red draped bed to the depths of the trap door, nor Anne’s goofy convertible car ride with scarf billowing in the breeze.

However, it has to also be said…it didn’t quite work as a totally integrated piece of theatre. At the end of the day, had I not read the program notes I might not have grasped this overall conceit until we were well into the piece. Unlike the recent Fanciulla in Amsterdam that established its intent early on to tap into Old Hollywood images, this Rake apparently began on a flat plain with an oil derrick in …where? Texas? Oklahoma? I was willing to go with that, but it soon seemed a red herring of sorts. When we finally start to get it, we wasted some time and attention playing catch-up in retrospect.

ROH_00705.pngPatricia Bardon as Baba the Turk and Toby Spence as Tom Rakewell

Nevertheless, it cannot be denied that The Rake’s Progress was a highly diverting, conscientiously considered, and wholly professional evening at the opera. By assembling a world class cast and pairing them with its usual awesome musical and theatrical assets, the Royal Opera House has once again reminded me that it is Europe’s premiere company.

James Sohre

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):