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.
Bruckner, Bruckner, wherever one goes; From Salzburg to London, he is with us, he is with us indeed, and will be next week too. (I shall even be given the Third Symphony another try, on my birthday: the things I do for Daniel Barenboim ) Still, at least it seems to mean that fewer unnecessary Mahler-as-showpiece performances are being foisted upon us. Moreover, in this case, it was good, indeed great Bruckner, rather than one of the interminable number of ‘versions’ of interminable earlier works.
Thomas Larcher’s Second Symphony (written 2015-16) here received its United Kingdom premiere, its first performance having been given by the Vienna Philharmonic and Semyon Bychkov in June this year. A commission from the Austrian National Bank for its bicentenary, it is nevertheless not a celebratory work, instead commemorating those refugees who have met their deaths in the Mediterranean Sea, ‘expressing grief over those who have died and outrage at the misanthropy at home in Austria and elsewhere’.
One of the initiatives for the community at the Lucerne Festival is the ‘40 min’ series. A free concert given before the evening’s main event that ranges from chamber music to orchestral rehearsals.
The mysteries and myths surrounding Mozart’s Requiem Mass - left unfinished at his death and completed by his pupil, Franz Xaver Süssmayr - abide, reinvigorated and prolonged by Peter Shaffer’s play Amadeus as directed on film by Miloš Forman. The origins of the work’s commission and composition remain unknown but in our collective cultural and musical consciousness the Requiem has come to assume an autobiographical role: as if Mozart was composing a mass for his own presaged death.
I saw two operas consecutively at Oper Koln. First, the utterly bewildering Lucia di Lammermoor; then Thilo Reinhardt’s thrilling Tosca. His staging was pure operatic joy with some Hitchcockian provocations.
Bernard Haitink’s monumental Bruckner and Mahler performances with the Royal Concertgebouw Orchestra (RCO) got me hooked on classical music. His legendary performance of Bruckner’s Symphony No. 8 in C-minor, where in the Finale loosened plaster fell from the Concertgebouw ceiling, is still recounted in Amsterdam.
Karita Mattila was born to sing Emilia Marty, the diva around whom revolves Leoš Janáček's The Makropulos Affair (Věc Makropulos). At Prom 45, she shone all the more because she was conducted by Jirí Belohlávek and performed alongside a superb cast from the National Theatre, Prague, probably the finest and most idiomatic exponents of this repertoire.
‘Two outrageous operas in one crazy evening,’ reads the bill. Hyperbole? Certainly not when the operas are two of Jacques Offenbach’s more off-the-wall bouffoneries and when the company is Opera della Luna whose artistic director, Jeff Clarke, is blessed with the comic imagination and theatrical nous to turn even the most vacuous trivia into a sharp and sassy riotous romp.
This performance of Britten's A Midsummer Night's Dream at Glyndebourne was so good that it was the highlight of the whole season, making the term ‘revival’ utterly irrelevant. Jakub Hrůša is always stimulating, but on this occasion, his conducting was so inspired that I found myself closing my eyes in order to concentrate on what he revealed in Britten's quirky but brilliant score. Eyes closed in this famous production by Peter Hall, first seen in 1981?
A staged piano recital and an opera as a concert. Pianist András Schiff accompanied the Salzburg Marionette Theater at the Mozarteum Grosser Saal and Anna Netrebko sang Manon Lescaut at the Grosses Festspielhaus.
On August 4, 2016, soprano Leah Crocetto and accompanist Tamara Sanikidze gave a recital at the Scottish Rite Center in Santa Fe New Mexico. A winner of the Metropolitan Opera Auditions and the BBC Cardiff Singer of the World Contest, this year Crocetto was singing Donna Anna in Santa Fe Opera’s excellent Don Giovanni.
On July 31, 2016, against the ethereal beauty of the main hall in the Scottish Rite Center, soprano Angela Meade and pianist Joe Illick gave a recital offering both opera and art songs ranging in origin from early nineteenth century Europe to mid twentieth century America. Many in the audience probably remembered Meade’s recent excellent portrayal of Norma at Los Angeles Opera.
When more is definitely more, and less would indeed be less. Two of the biggest names in Italian theater art collide in an eponymous theater.
It was the fifth Proms Chamber Music concert at Cadogan Hall this season, and we were celebrating Shakespeare’s 400th. And, given the extent and range of the composers and artists, and the diversity and profundity of the musical achievement inspired by the Bard, we could probably keep celebrating in this fashion ad infinitum.
Each August the bleak and leaky, 12,000 seat Arena Adriatica (home of the famed Pesaro basketball team) magically transforms itself into an improvised opera house that boasts the ultimate in opera chic — exemplary Rossini production standards for its now twelve hundred seats.
This highly enjoyable Prom, part of 2016’s ‘Proms at ’ mini-series, took as its guiding concept the reopening of London’s theatres following the Restoration, focusing in particular upon musical and dramatic responses to Shakespeare. Purcell, rightly, loomed large, with John Blow and Matthew Locke joining him. Receiving their Proms premieres were the excerpts from Timon of Athens and those from Locke’s The Tempest.
With all the bombast of the presidential campaigns rattling in our heads, with invectives being exchanged and measured discussion all but absent, how utterly lovely to retreat and relax into the harmonious soundscape and well-reasoned debate posed in Strauss’ Capriccio, on magnificent display at Santa Fe Opera.
When we entered the Crosby Theatre for Gounod’s Roméo et Juliette the stage was surprisingly dominated by a somber, semi-circular black mausoleum, many chambers inscribed with scrambled names of US Civil War era dead.
Molten passions were seething just below the icy Nordic exterior of Santa Fe Opera’s wholly masterful production of Barber’s Vanessa.
Farce is probably the most difficult of dramatic comedy sub-genres to put across. A farce got up in the stately robes of opera sets its presenters an even higher bar. Presenting an operatic farce on a notoriously chilly and cavernous auditorium is to risk catastrophe.
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.