05 Mar 2010
Karlsruhe: Rare Verdi, Well Done
The Baden State Theatre's new mounting of I Masnadieri may not completely be the production of one’s dreams.
The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission
Houston Grand Opera commissioned Cruzar la Cara de la Luna from composer José “Pepe” Martínez, music director of Mariachi Vargas de Tecalitlán, who wrote the text together with Broadway and opera director Leonard Foglia. The work had its world premier in 2010. Since then, it has traveled to several cities including Paris, Chicago, and San Diego.
“Why should I go to hear Plácido Domingo” someone said when Verdi’s I due Foscari was announced by the Royal Opera House. There are very good reasons for doing so.
Music Theatre Wales presented the world premiere of Philip Glass’s The Trial (Kafka) last night at the Linbury, Royal Opera House. Music Theatre Wales started doing Glass in 1989. Their production of Glass’s In the Penal Colony in 2010 was such a success that Glass conceived The Trial specially for the company.
To say that the English Concert’s performance of Handel’s Alcina at the Barbican on 10 October 2014 was hotly anticipated would be an understatement. Sold out for weeks, the performance capitalised on the draw of its two principals Joyce DiDonato and Alice Coote and generated the sort of buzz which the work did at its premiere.
The subject is regicide, a hot topic during the Italian risorgimento when the Italian peninsula was in the grip of the Hapsburgs, the Bourbons, the House of Savoy and the Pontiff of the Catholic Church.
Lyric Opera of Chicago opened its sixtieth anniversary season with a new production of Mozart’s Don Giovanni directed by Artistic Director of the Goodman Theater, Robert Falls.
It was a little over two years ago that I heard Sir Colin Davis conduct the Berlioz Requiem in St Paul’s Cathedral; it was the last time I heard — or indeed saw — him conduct his beloved and loving London Symphony Orchestra.
Part of their Liberty or Death season along with Rossini’s Mose in Egitto and Bizet’s Carmen, Welsh National Opera performed David Pountney’s new production of Rossini’s Guillaume Tell (seen 4 October 2014).
Welsh National Opera’s production of Rossini’s Mose in Egitto was the second of two Rossini operas (the other is Guillaume Tell) performed in tandem for their autumn tour.
In Monteverdi’s first Venetian opera, Il Ritorno d’Ulisse (1641), Penelope’s patient devotion as she waits for the return of her beloved Ulysses culminates in the triumph of love and faithfulness; in contrast, in L’incoronazione di Poppea it is the eponymous Queen’s lust, passion and ambition that prevail.
After the triumphs of love, the surprises: Les Paladins, under their director Jérôme Correas, and soprano Sandrine Piau are following their tour of material from their 2011 CD, ‘Le Triomphe de L’amour’, with a new amatory arrangement.
At the ENO, Puccini's La fanciulla del West becomes The Girl of the Golden West. Hearing this opera in English instead of Italian has its advantages, While we can still hear the exotic, Italianate Madama Butterfly fantasies in the orchestra, in English, we're closer to the original pot-boiler melodrama. Madama Biutterfly is premier cru: The Girl of the Golden West veers closer, at times, to hokum. The new ENO production gets round the implausibility of the plot by engaging with its natural innocence.
Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.
Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.
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.
The Baden State Theatre's new mounting of I Masnadieri may not completely be the production of one’s dreams.
But then, does anyone really dream of I Masnadieri? One thing absolutely dreamy about the performance was the starry cast, a first rate quartet of soloists that could hold its own in any major international house. Indeed, when I remarked to a Viennese colleague that I thought the Staatsoper might be happy with these fine vocalists he retorted: “Are you kidding? They would be jealous!”
Barbara Dobrzanska continues to be one of my most favorite spinto sopranos. Having first been bowled over by her Suor Angelica, I subsequently marveled at her Butterfly, admired her Desdemona and Elisabetta in equal measure, and was wrung out emotionally by her tender Liu. But Amalia is one of those early-mid-Verdi hybrid roles that requires in equal part: steely dramatic output over the sometimes noisily scored oom-pah-ing band, heroic Bellini-holdover lyric singing, and Donizettian coloratura fireworks (make up your mind, Giuseppe!). True to form, the Divine Miss D swept all those challenges before her with great elan.
Klaus Schneider as Arminio
As ever, her knowing skill in crafting an arching vocal line was informed by her unerring musicality as she presented a well-rounded, varied, and eminently interesting characterization. What was a revelation to me was the facility with which she casually tossed off the exposed roulades and fiorituri, and the telling way each vocal gesture was meaningfully couched. Add to this Barbara’s sincere acting and unaffected stage presence, and we have yet another memorable role form this highly talented artist. Don’t know why she is not regularly treading the world stages by now, but the local public should (and does) rejoice in her continued presence in Karlsruhe.
Another company treasure is tenor Keith Ikaia-Purdy who seems born to sing these Verdi heroes. Although his burnished, ringing tone really shines above the staff, there is a warmly solid presence in the lower reaches as well. That said, the first aria lies a bit ungratefully in the fringes just upward of the middle of the voice, although he negotiated it reliably with his sound technique and professional skill. It was after this opening number that Mr. Ikaia-Purdy really came into his own, and he lavished us with some beautiful phrasing and heartfelt commitment, full of Bergonzian portamento and Verdian temperament. Moreover, he and Ms. Dobrzanska partner each other exceptionally well, and as they rose above the orchestra at full volume, the exquisite outpouring of molten vocalism was overwhelming.
Kammersänger Konstantin Gorny contributed a beautifully judged account of not only Massimiliano, but also Pastor Moser. His richly orotund, cavernous bass is powerfully deployed to outstanding effect. Mr. Gorny wrung the most out his every phrase, and is a stylish Verdian. His instrument lacks the biting edge of many other Russian singers (not a bad thing!), and when the orchestra is playing fortissimo he can blend into the instrumental fabric a bit. But this is a very minor observation in what was a commanding portrayal.
Baritone Stefan Stoll rounded out the quartet with an assured assumption of the role of Francseco. Mr. Stoll has a real Italianate ping in his upper register, and especially relished the many high-lying outbursts that gave great pleasure. Lower down, the tone got a bit more diffuse, sounding more German-generic, although always healthy and well-placed. In the small role of Arminio, Klaus Schneider was secure and did all that was required.
Barbara Dobrzanska as Amalia, Konstantin Gorny as Massimiliano/Moser, Stefan Stoll as Francesco and Klaus Schneider as Arminio
The orchestra had an exceptionally fine evening, playing with brio and stylistic acumen under the inspiring baton of conductor Jochem Hochstenbach. The Maestro not only found good variety in this lesser Verdi, but also maintained the dramatic shape with an unerring sense of pace and color. Johann Ludwig’s cello solo was achingly beautiful. The chorus (and ‘extra’ Chor) were schooled to a fare-thee-well (or an addio) by Ulrich Wagner.
Director Alexander Schulin’s idiosyncratic staging was quirky, to be sure, but he displayed the great, rare gift of making the relationships deeply personal and believably clarifying the story. This is no mean feat, given that the far-fetched machinations of the libretto pretty much follow the improbabilities of the original Schiller concoction. Mr. Schulin started with an imposing unit design by Christoph Sehl as realized by Michele Lorenzini. At curtain rise, a coolly beautiful, blue-green tinted photo-realistic forest drop was revealed. The three leading men wandered variously across the stage in front of it, passing each other without acknowledgment, like lost souls in Purgatory. So far so good.
The drop subsequently flew out to reveal an imposing two-story family manse with a large main reception hall stage left, a stairwell and landing in the center, and a greenhouse stage right topped by a second floor bed room/study, all meticulously constructed and dressed with meaningful, well-chosen furnishings. Behind it was an identical forest drop. And that, my friends, was all. And it was more than enough. In fact, it was splendidly compact.
Carlo plays his first scene isolated in the greenhouse (forest). Bad boy Francesco commandeers and prowls his space in the bed room above like Scarpia in the Farnese Palace. Massimiliano presides over the immense drawing room. Amalia first wanders the stairwell, belonging to none of the above. Lest these visuals sound blunt or obvious, they were essential in establishing and defining the shifting levels of power between the principals.
Konstantin Gorny as Massimiliano/Moser
Mr. Schulin showed a deft touch with any number of problematic plot points. Massimiliano’s false “death” was beautifully communicated to us with a subtle ‘take’ from Francesco. The dramatic device of then plopping the coffin on Francesco’s (power) bed as a bier was inspired. The musico-dramatic device of doubling the bass to also sing the priest was brilliant, with the baritone therefore confessing his transgressions not just to a “father” but to “his” father. The similar doubling of Carlo as Rolla, however, made no sense whatsoever. (Ah well, it saved another singer’s fee…)
Although almost all of Ursina Zürcher’s brooding costumes were right on the mark in helping with character development, one widely missed the mark for me, and unfortunately that was the molting Schmatte that was thrown on Amalia, who started out looking like a frump in an ill-fitting cocktail dress at the opening of a Chattanooga Shopping Mall. Over time, one rumply layer after another was torn away and although Barbara looked progressively more shapely, I wish wish I could say that any of the variations truly flattered the diva as she should be.
One such strip tease was the result of Francesco having begun to manhandle her, with her shimmying out of his grasp leaving a layer of organdy. The over-sexed baritone had obviously been told to communicate arousal, but once he had possession of her dress I was not sure if he wanted to climax on it or wear it. (Or both?) The director also frequently has the principals doing stage business in their “room” while a solo is being sung in another. A less experienced hand (or cast) could easily become a distraction, but it is to everyone’s credit that the whole staging is well-calculated to point up dramatic focus. The company was greatly assisted by the well-conceived and atmospheric lighting design from Stefan Woinke.
Karlsruhe has served up a rare treat with its theatrically cogent, musically vivid, immensely satisfying I Masnadieri.