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.
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.
On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman theatre of Aspendos near Antalya in southern Turkey is not an arena or amphitheatre at all, so there are not nearly as many ghosts of gored gladiators or dismembered Christians to disturb the contemporary feng shui as in other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014 by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings
On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!
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.