26 Mar 2010
Mark Lamos’ production of Chabrier’s L’Etoile is perfectly ridiculous.
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw Orchestra’s season with a slightly uneven performance of Mahler’s Resurrection Symphony. With four planned, this staple repertoire for the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful production. With magnificent voices, Andreas Schager and Dorothea Röschmann rescued Michael Thalheimer’s grotesque staging of von Weber’s Der Freischütz. At Staatsoper Unter den Linden, Alexander Soddy led a richly detailed, transparent and brilliantly glowing Berliner Staatskapelle.
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an intriguing American double bill of rarities. An experience that was well worth the trip to this desolate ghost town, remnant of industrial West Germany.
Mark Lamos’ production of Chabrier’s L’Etoile is perfectly ridiculous.
This would be most unsuitable — if this post-Offenbach operetta of 1877 were anything but a perfection of ridiculousness. The gentlemen in bowler hats, bouncing up and down like pistons! the ladies whose mourning frocks and veils are instantaneously transformed into the can-can frippery of rejoicing! the lead singers on scooters! the backdrop that itself becomes tipsy when the mad King Ouf sings a tribute to Chartreuse (the lighting changes at that point too)! the fun-house mirrors that enclose (and might as well describe) the action — which will strike Americans as “Gilbertian,” though Gilbert got his ideas from Offenbach, too.
In the City Opera’s quest to re-establish and re-present itself to New York as the opera company that does what the Met isn’t going to do, Chabrier (the production has already been seen there in 2002) is an excellent place to start. The melodies are light in a slyer way than Offenbach’s, with more opportunity for harmonious display, as in the “kissing” quartet in Act III. The choruses are not mere background, and in the Lamos production give the City Opera ladies and gents a chance to strut to a Broadway standard, all the while singing at a rather higher one. The wit of the piece is the kind of froth that so often evaporates when the Met attempts operetta, and it wouldn’t work at NYCO either if it were not so elegantly presented and if we were not all used to surtitles by now. Ideally, such a work should be given in the vernacular and in a small house, but that’s true of Rossini’s comic operas too — and of Shostakovich’s The Nose, for that matter, concurrently doing sell-out business across the plaza.
The story of L’Etoile makes one reflect on the deep philosophical import of The Mikado. The tyrant here, King Ouf I (I guess that should be le Roi Ouf Ier), always celebrates his birthday with festivities climaxing in a public execution. Knowing this, his subjects are on their best behavior at that time of year — but Lazuli, a boy from out of town, falls into the trap of resenting the world because he is unhappily in love with a strange girl he met on the road. Before he can be impaled on a booby-trapped armchair, however, the royal astrologer discovers that he — Lazuli — is destined to die precisely one day before the king does. (Date unspecified.) The king thereupon decides to spare the boy — which is good news for Siroco, the astrologer, whom the king has condemned to die fifteen minutes after the king does. But Lazuli does not want to live without his adored Laoula — despite the fond attentions of the ladies of the court — and attempts to drown himself. And Laoula, it turns out, is not a traveling cosmetics saleswoman (her disguise) but the princess next door, betrothed to King Ouf. Ouf, like Gilbert’s Koko, prefers life to love-death and orders the lovers wed. “And we’ll have two executions next year,” he consoles his delighted subjects.
Jennifer Zetlan as Laoula, Julie Boulianne as Lazuli, and Liza Forrester as Aloès
Everyone loves a comic villain, and Jean-Paul Fouchécourt’s King Ouf is the joy of this occasion — as he was in his NYCO debut as Rameau’s frog-nymph Platée. He is the joy of the costume designer Constance Hoffman as tiny Ouf stomps about “in disguise” in the largest overcoat in captivity, and the joy of the conductor, the joyous Emmanuel Plasson, as he warbles his song of Chartreuse ecstasy, his high tenor mated with François Loup’s low bass, and he is the joy of everyone present as he caricatures tiny men with too much power, in his bloodthirst, his lust, his cowardice, his egotism. I heard Fouchécourt last month singing Satie’s Socrate to accompany Mark Morris’s choreography; he was splendid, but he’s far too much fun on stage to let him languish in any pit. Morris should have let him dance.
I was less thrilled with Julie Boulianne as the boyish Lazuli, on purely vocal grounds. Like so many boyish roles in French opera (and theater), the part is written for a young woman, and when Frederica von Stade sang it, her famous charm and musicality conquered all. But Boulianne, though she has a solid technique and many pretty notes (at least high ones — she faded out on lower lines), suffered intonation problems throughout the first act, often landing just shy of otherwise good, clear tones. Too, her trilled “kisses” lacked body, and the joke is not a good one without genuine trills. Only in the quartet, when obliged to intone the extremely musical name “La-ou-la,” did her vocal appeal make the proper effect.
William Ferguson as Hérisson de Porc-Épic, Jennifer Zetlan as Laoula, Andrew Drost as Tapioca, and Liza Forrester as Aloès
Tiny Jennifer Zetlan was charming as the princess, but tall Liza Forrester, as her confidant and abettor in tickling strange sleeping men, had a mezzo that made me daydream of hearing her in many larger, more rewarding roles. The supporting parts in this opera are numerous and were all cast with City Opera folk who sang elegantly and cavorted stylishly. Style, the essence of Chabrier, was also the essence of the silly evening.