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.
“Hi! I’m at the Wigmore Hall!” American mezzo-soprano Jamie Barton’s exuberant excitement at finding herself performing in the world’s premier lieder venue was delightful and infectious. With accompanist James Baillieu, Barton presented what she termed a “love-fest” of some of the duo’s favourite art songs. The programme - Turina, Brahms, Dvořák, Ives, Sibelius - was also surely designed to show-case Barton’s sumptuous and balmy tone, stamina, range and sheer charisma; that is, the qualities which won her the First and Song Prizes at the 2013 BBC Cardiff Singer of the World Competition.
“If I lacked ears, it would be bad, but still more bearable; but lacking a nose, a man is devil knows what: not a bird, not a citizen—just take and chuck him out the window!”
A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
Francesco Cavalli’s La Calisto was the composer’s ﬁfteenth opera, and the ninth to a libretto by Giovanni Faustini (1615-1651). First performed at the Teatro Sant’Apollinaire in Venice on 28th November 1651, the opera by might have been sub-titled ‘Gods Behaving Badly’, so debauched are the deities’ dalliances and deviations, so egotistical their deceptions.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure, this new production presents the plot as the dying protagonist’s feverish hallucinations. The result is a frosty retelling of what is arguably Puccini’s most hot-blooded opera. Musically, the performance also left much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang bergetar akan terhapus.” (“The transient cannot hold on to stars lost in the Milky Way; that which quivers will be erased.”) As soprano Tony Arnold sang these words of Tony Prabowo’s chamber opera Pastoral, with astonishingly crisp Indonesian diction, the first night of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
New from Oehms Classics, Walter Braunfels Orchestral Songs Vol 1. Luxury singers - Valentina Farcas, Klaus Florian Vogt and Michael Volle, with the Staatskapelle Weimar, conducted by Hansjörg Albrecht.
Manitoba Underground Opera took audiences on a journey — literally and figuratively — as it presented its latest installment of repertory opera between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
Covent Garden has revived director Robert Lepage’s popular and well-traveled version of The Rake’s Progress with often thrilling results.
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.
Toby 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.
Kyle 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.
Patricia 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.