04 Feb 2010
Heidelberg’s Stumbling Spartaco at Schwetzingen Castle
For those who might be seeking a representational tale of the legendary Roman slave Spartacus, well, Gladiator this ain’t.
The Princeton Festival presents one opera annually, amidst other events. Its offerings usually alternate annually between 20th century and earlier operas. This year the Festival presented Benjamin Britten’s Peter Grimes, now a classic work, in a very effective and moving production.
If you like your Ariadne on Naxos productions as playful as a box of puppies, then Opera Theatre of Saint Louis is the address for you.
Opera Theatre of Saint Louis took forty years before attempting Verdi’s Macbeth but judging by the excellence of the current production, it was well worth the wait.
On June 16, 2016, Los Angeles Opera with Beth Morrison Projects presented the world premiere of Pulitzer Prize-winning composer David Lang's Anatomy Theater at the Roy and Edna Disney/CalArts Theater (REDCAT).
In its compact forty-year history, the ambitious Opera Theatre of Saint Louis has just triumphantly presented its twenty-fifth world premiere with Shalimar the Clown.
The sharp angles and oddly tilting perspectives of Charles Edwards’ set for David Alden’s production of Jenůfa at ENO suggest a community resting precariously on the security and certainty of its customs, soon to slide from this precipice into social and moral anarchy.
Last week an audience of 50 assembled in the kitchen of a luxurious West Village townhouse for a performance of Marriage of Figaro.
In a recent article in BBC Music Magazine tenor James Gilchrist reflected on the reason why early-nineteenth-century England produced no corpus of art song to match the German lieder of Schumann, Schubert and others, despite the great flowering of English Romantic poetry during this period.
With the New York Premiere of Florencia en el Amazonas, the New York City Opera Steps Out of the Shadows of the Past
Opportunities to see Idomeneo are not so frequent as they might be, certainly not so frequent as they should be.
Not merely Don Carlo, but the five-act Don Carlo in the 1886 Modena version! The welcomed esotericism of San Francisco Opera’s extraordinary spring season.
The early summer San Francisco Opera season has the feel of a classy festival. There is an introduction of Spanish director Calixto Bieito to American audiences, a five-act Don Carlo and two awaited, inevitable role debuts, Karita Mattila as Kostelnička and Malin Bystrom as Janacek's Jenůfa.
Now that the curtain has long fallen on the third and last performance of the Ring cycle at the Washington National Opera (WNO), it is safe to say that the long-anticipated production has been an unqualified success for the company, director Francesca Zambello, and conductor Philippe Auguin.
Most of the attention during this revival of Daniele Abbado’s 2013 production of Nabucco has been directed at Plácido Domingo’s reprise of the title role, with the critical reception somewhat mixed.
My first Tristan, indeed my first Wagner, in the theatre was ENO’s previous staging of the work, twenty years ago, in 1996. The experience, as it should, as it must, although this is alas far from a given, quite overwhelmed me.
Four years ago, almost to the day (13th to 12th), I saw Melly Still’s production of The Cunning Little Vixen during its first Glyndebourne run. I found myself surprised how much more warmly I responded to it this time.
This recital celebrated both the work of the Park Lane Group, which has been supporting the careers of outstanding young artists for 60 years, and the 90th birthday of Joseph Horovitz, who was born in Vienna in 1926 and emigrated to England aged 12.
Headed by General Director Luana DeVol, a world-renowned dramatic soprano, Opera Las Vegas is a relatively new company that presents opera with first-rate casts at the University of Las Vegas’s Judy Bayley Theater. In 2014 they presented Rossini’s The Barber of Seville and in 2015, Puccini’s Madama Butterfly. This year they offered a blazing rendition of Georges Bizet’s Carmen.
Ever since a friend was reported as having said he would like something in return for modern-dress Shakespeare (how quaint that term seems now, as if anyone would bat an eyelid!), namely an Elizabethan-dress staging of Look Back in Anger, I have been curious about the possibilities of ‘down-dating’, as I suppose we might call it. Rarely, if ever, do we see it, though.
Leading a very muscular Dutch Radio Philharmonic, Principal Conductor Markus Stenz brilliantly delivered Alban Berg’s Wozzeck with a superb Florian Boesch in the lead and a mesmerising Asmik Grigorian as Marie his wife.
For those who might be seeking a representational tale of the legendary Roman slave Spartacus, well, Gladiator this ain’t.
The industrious Heidelberg City Theater is to be commended for excavating this early 18th century curiosity, composed by Giuseppe Porsile in 1726 for the Emperor’s Carnival celebration in Vienna. After considerable popular success, Spartaco (perhaps unfairly) disappeared. But just like Evita’s body, or a bad penny, it has now re-surfaced, alas tarted up in a mounting that aspires to be moralizing, scolding, Shabby-Chic but which only manages to succeed with the pre-hyphen portion of that label.
Happily, this performance lacks for nothing musically as it is exceedingly well sung and played. The period band assembled from the ranks of the Philharmonic Orchestra of the City of Heidelberg augmented by Baroque specialists gave great pleasure and offered variety and consistency in equal measure under the propulsive baton of Michael Form. There were especially fine contributions by Julian Behr (theorbo) and Marc Meisel (continuo). At the very end of the evening, a sudden welcome addition appeared with a brilliantly accurate piccolo trumpet solo by Laura Vukobratovic. Maestro Form seemed in good sync with his talented singers and instrumentalists and they collaborated to fine effect.
Perhaps the very recent financial scare that threatened to actually shut down the Stadttheater looms over the operation still. How else to explain the junk pile approach to the overall set “design”? I am not bothered by seeing an unadorned stage with all the rigging and escape doors in full view. But I take issue with the deliberate ugliness of all the motley, disparate, and worn out pieces that clutter that playing area. Well, it is not quite completely bare since a large projection screen dominates the upstage playing space fronted by a platform, and (uh-oh) contemporary microphones on stands (be afraid, be very afraid). The tawdry props and dressing seem to have been collected from the curbside, one step ahead of the garbage trucks on bulk trash pick-up day.
Ben Baur is not only on the blame line for this scenic hodge-podge, but also for devising the costumes. Drawing on the opera’s Carnival associations, he has attired most of the cast in what seem to be homemade costumes such as people without taste might throw together in an attempt to be “wild and crazy.” You know, you’ve seen them. They are of the ilk of pulling patterned underwear over outerwear, painting on freckles with mom’s mascara, and wearing Doc Martins with a tutu. While I made that up, none of it would have been out of place here or any less meaningful. Young Mr. Baur has some wonderful credits to his name, and it has to be said that Vetturia’s historical gown, wig, and crown were fetching. And even the clowns (yes, clowns, God-help-us) were visually arresting. Would that the rest of the cast had been treated to as much consideration, for their characterizations were not helped by their “look.”
Perhaps all of this could have had more impact had it been compellingly lit, but with no lighting designer even credited, the unimaginative wash and clumsy area lighting effects contributed nothing to the staging. Perhaps the Rococo Theatre has severe technical limitations? Although I did not much enjoy the content of Stefan Butzmühlen’s videos (or even see the need for them) they were in fact very professionally created. Highlighting just one of the movies, screened over ballet music: rowdy clowns have a take-no-prisoners cream pie fight. Yep, Bozo is up there hurling those pastries hither and yon, while the plot stops. Oh, and then two of the film actors force feed a piece of pie to a down-and-out street person crashed on the sidewalk in front of their house.
Emilio Pons as Spartaco
The responsibility for this clutter must be laid at the feet of stage director Michael von zur Mühlen. Apparently borrowing from the titular hero’s slave status, there is a concept at work that decries oppression and slavery (and well, who can disagree with that, hmm?). But Herr v.z. Mühlen is not content to play the opera straight to make his point, but grafts on amplified shrill prose diatribes, made up out of whole cloth, shouted by three extraneous clowns. Part Stephen King’s evil It, part Clarabelle with a wireless mike, part Emmet Kelly in need of a distemper shot, actors Judith Achner, Alisabeth Schlicksupp, and Richard Hoppart strive to be ominous and creepy, but wind up being strident and irrelevant. In addition to these scripted ‘improvements’ to Posile’s opera, we are also subjected to the insertion of the rock recording “Wake Up” by Rage Against the Machine. Oh, and the cast passes the text around a dinner table and reads the lyrics to the finale instead of actually singing the concerted number. There are at least 25 minutes of additional, extra-musical material/scenarios dragging down the show’s considerable musical values.
Mr. Director, sir, there is a fine line between “shock” and “schlock.”
Which leads me to posit the question: If you don’t trust the inherent quality or message of the material, why bother? Why not make up something wholly new? Why subvert someone else’s hard work? This is facile, feckless, free-loading pretense, and it serves neither the talented performers nor the audience, as evidenced by the number of empty seats that only increased after intermission. But… may I return to praising the truly gifted performers?
In the title role, young tenor Emlio Pons revealed a highly appealing lyric voice, good stylistic acumen, and meticulous passage work in the fierier outbursts. His pleasing instrument goes easily above the staff, and he acts affectingly with the voice without ever sacrificing sound technique. On the “short” side of “tall” he nevertheless commands the stage with an easy, natural presence. Even when he is asked to do un-natural or insulting things. Like stand on an upended beer case to raise him above the height of his female co-stars. Or like taking off his clothes for all of Act Two.
That’s right, in his first aria at the top of Two, Emilio strips off every stitch of his Home-Made-Fasching-Faux-Centurion gear and plays the entire second act in the altogether like a nudist in search of a camp. Eye candy it decidedly may have been, but can you imagine Domingo submitting to this? (Would you want to???) Adding to the mutual discomfort, Mr. Pons eventually toted on two white plastic buckets and then proceeded to slather his body with…what? Mud? War paint? Godiva chocolate sauce? Eventually, his face was crudely got up like Al Jolson about to address Mr. Interlocutor, and he donned a clown ruff, paper Bart-Simpson-hair-do crown, and furry red overcoat meant to suggest a royal robe. But the dang fur-piece persisted in flapping inelegantly, contributing yet another distracting effect of Penis Peek-a-Boo. I am not sure that an artist this fine has ever been made to be so audaciously displayed.
Camilla de Falleiro was a bewitching stage creature as a love-lorn Gianisbe. This charismatic soprano contributed spot-on singing all night and conquered the high-flying challenges of her multiple arias with aplomb, offering crystal clear tone, beauty of sound, rapid fire coloratura, and warmth of personality. This was top-quality vocalism. Yosemeh Adjei has a very distinctive counter-tenor, his well-schooled treble laced with real bite and snap. He runs the risk of verging on edginess, but this is an exciting instrument. And he is a lively stage creature, filling his scenes with agile activity. He also got to show off his gym bunny torso in a square-off duel with the Popilius of Franz Vitzthum, another exceptional counter-tenor who commands a flexible range, creamy rich tone, and stylish phrasing.
Annika Ritlewski as Vetturia
Annika Ritlewski scored all of Vetturia’s musical points with her ample, womanly soprano, and provided even singing at both extremes of the range. Mariale Lichdi treated us to some bravura moments, and her pleasant timbre and assured technique were surely appreciated. Too bad Ms. Lichdi was hindered by being the director’s “symbol,” or rather two of them, impersonating first Rosa Luxemburg and then (no kidding) Ulrike Meinhof (yes, of the Red Faction Baader-Meinhof Gang). While baritone Sebastian Geyer was indisposed, he animatedly acted the role of Trasone while Lisandro Abadies provided richly detailed singing from the pit.
What of the piece itself? The production certainly short-changed us in making an informed decision, but there were many attractive set pieces that were beautifully rendered. There seems to be considerably more pleasure to be mined from Pisole’s Spartaco. I certainly would welcome the chance to experience another production of it, shorn of all the pseudo-socialist, politically provocative associations that have weighted down this clumsy rendition.
Halfway through Act Two, handbills rained down on us from the top tier that read: “We don’t want a piece of cake, we want the whole bakery.”
With the “whole bakery” thrown randomly on stage, including the kitchen sink, far too little time was spent savoring the one succulent piece of Kuchen that might have been the composer’s Spartaco.