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.
Classical Opera’s MOZART 250 project has reached the year 1767. Two years ago, the company embarked upon an epic, 27-year exploration of the music written by Mozart and his contemporaries exactly 250 years previously. The series will incorporate 250th anniversary performances of all Mozart’s important compositions and artistic director Ian Page tells us that as 1767 ‘was the year in which Mozart started to write more substantial works - opera, oratorio, concertos this will be the first year of MOZART 250 in which Mozart’s own music dominates the programme’.
‘[T]hey moderated or increased their voices, loud or soft, heavy or light according to the demands of the piece they were singing; now slowing, breaking of sometimes with a gentle sigh, now singing long passages legato or detached, now groups, now leaps, now with long trills, now with short, or again, with sweet running passages sung softly, to which one sometimes heard an echo answer unexpectedly. They accompanied the music and the sentiment with appropriate facial expressions, glances and gestures, with no awkward movements of the mouth or hands or body which might not express the feelings of the song. They made the words clear in such a way that one could hear even the last syllable of every word, which was never interrupted or suppressed by passages or other embellishments.’
An exceptional Wagner Der fliegende Holländer, so challenging that, at first, it seems shocking. But Kasper Holten's new production, currently at the Finnish National Opera, is also exceptionally intelligent.
A welcome addition to Lyric Opera of Chicago’s roster was its recent production of Jules Massenet’s Don Quichotte.
800 years ago, every book was a precious treasure - ‘written on skin’. In George Benjamin’s and Martin Crimp’s 2012 opera, Written on Skin, modern-day archivists search for one such artefact: a legendary 12th-century illustrated vanity project, commissioned by an unnamed Protector to record and celebrate his power.
It was like a “Date Night” at Staatsoper unter den Linden with its return of Eike Gramss’ 2012 production of Puccini’s Madama Butterfly. While I entered the Schiller Theater, the many young couples venturing to the opera together, and emerging afterwards all lovey-dovey and moved by Puccini’s melodramatic romance, encouraged me to think more positively about the future of opera.
For the Late Night concert after the Saturday series, fifteen Berliners backed up Barbara Hannigan in yet another adventurous collaboration on a modern rarity with Simon Rattle. I was completely unfamiliar with the French composer, but the performance tonight made me fall in love with Gérard Grisey’s sensually disintegrating soundscape Quatre chants pour franchir le seuil, or “Fours Songs to cross the Threshold”.
One of the things I love about the Philharmonie in Berlin, is the normalcy of musical excellence week after week. Very few venues can pull off with such illuminating star wattage. Michael Schade, Anne Schwanewilms, and Barbara Hannigan performed in two concerts with two larger-than-life conductors Thielemann and Rattle. We were taken on three thrilling adventures.
Lyric Opera of Chicago’s original and superbly cast production of Hector Berlioz’s Les Troyens has provided the musical public with a treasured opportunity to appreciate one of the great operatic achievements of the nineteenth century.
The Little Opera Company opened its 21st season by championing its own, as it presented the world premiere of Winnipeg composer Neil Weisensel’s Merry Christmas, Stephen Leacock.
In 2015, Bampton Classical Opera’s production of Salieri’s La grotta di Trofonio - a UK premiere - received well-deserved accolades: ‘a revelation ... the music is magnificent’ (Seen and Heard International), ‘giddily exciting, propelled by wit, charm and bags of joy’ (The Spectator), ‘lively, inventive ... a joy from start to finish’ (The Oxford Times), ‘They have done Salieri proud’ (The Arts Desk) and ‘an enthusiastic performance of riotously spirited music’ (Opera Britannia) were just some of the superlative compliments festooned by the critical press.
How many singers does it take to make an opera? There are single-role operas - Schönberg’s Erwartung (1924) and Eight Songs for a Mad King by Peter Maxwell Davies (1969) spring immediately to mind - and there are operas that just require a pair of performers, such as Rimsky-Korsakov’s Mozart i Salieri (1897) or The Telephone by Menotti (1947).
Now in its 31st year, the 2016 Christmas Festival at St John’s Smith Square has offered sixteen concerts performed by diverse ensembles, among them: the choirs of King’s College, London and Merton College, Oxford; Christchurch Cathedral Choir, Oxford; The Gesualdo Six; The Cardinall’s Musick; The Tallis Scholars; the choirs of Trinity College and Clare College, Cambridge; Tenebrae; Polyphony and the Orchestra of the Age of the Enlightment.
As 2016 draws to a close, we stand on the cusp of a post-Europe, pre-Trump world. Perhaps we will look back on current times with the nostalgic romanticism of Richard Strauss’s 1911 paean to past glories, comforts and certainties: Der Rosenkavalier.
Ah, Loft Opera. It’s part of the experience to wander down many dark streets, confused and lost, in a part of Brooklyn you’ve never been. It is that exclusive—you can’t even find the performance!
Let’s start by getting a couple of gripes out of the way. First, the final act of Die Walküre does not constitute a full-length concert, even with a distinguished cast and orchestra, and with animated drawings fluttering on a giant screen.
When you combine two charismatic New York stage divas with the artistry of Los Angeles Opera, you have a mix that explodes into singing, dancing and an evening of superb entertainment.
Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.
A historical afternoon at the NTR Saturday Matinee occurred with an epic concert version of Prokofiev’s Soviet Opera Semyon Kotko.
Opening night at the Metropolitan is a gleeful occasion even when the composer is long gone, but December 1st was an opening for a living composer who has been making waves around the world and is, gasp, a woman — the second woman composer ever to have an opera presented at the Met.
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.