Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

San Jose’s Bohemian Rhapsody

Opera San Jose has capped a wholly winning season with an emotionally engaging, thrillingly sung, enticingly fresh rendition of Puccini’s immortal masterpiece La bohème.

Fine Traviata Completes SDO Season

On Saturday evening April 22, 2017, San Diego Opera presented Giuseppe Verdi’s La traviata at the Civic Theater. Director Marta Domingo updated the production from the constrictions of the nineteenth century to the freedom of the nineteen twenties. Violetta’s fellow courtesans and their dates wore fascinating outfits and, at one point, danced the Charleston to what looked like a jazz combo playing Verdi’s score.

The Exterminating Angel: compulsive repetitions and re-enactments

Thomas Adès’s third opera, The Exterminating Angel, is a dizzying, sometimes frightening, palimpsest of texts (literary and cinematic) and music, in which ceaseless repetitions of the past - inexact, ever varying, but inescapably compulsive - stultify the present and deny progress into the future. Paradoxically, there is endless movement within a constricting stasis. The essential elements collide in a surreal Sartrean dystopia: beasts of the earth (live sheep and a simulacra of a bear) roam, a disembodied hand floats through the air, water spouts from the floor and a burning cello provides the flames upon which to roast the sacrificial lambs. No wonder that when the elderly Doctor tries to restore order through scientific rationalism he is told, “We don't want reason! We want to get out of here!”

Dutch National Opera revives deliciously dark satire A Dog’s Heart

Is A Dog’s Heart even an opera? It is sung by opera singers to live music. Alexander Raskatov’s score, however, is secondary to the incredible stage visuals. Whatever it is, actor/director Simon McBurney’s first stab at opera is fantastic theatre. Its revival at Dutch National Opera, where it premiered in 2010, is hugely welcome.

Opera Rara: new recording of Bellini's Adelson e Salvini

In May 2016, Opera Rara gave Bellini aficionados a treat when they gave a concert performance of Vincenzo Bellini’s first opera, Adelson e Salvini, at the Barbican Hall. The preceding week had been spent in the BBC’s Maida Vale Studios, and this recording, released last month, is a very welcome addition to Opera Rara’s bel canto catalogue.

Jonas Kaufmann : Mahler Das Lied von der Erde

Jonas Kaufmann Mahler Das Lied von der Erde is utterly unique but also works surprisingly well as a musical experience. This won't appeal to superficial listeners, but will reward those who take Mahler seriously enough to value the challenge of new perspectives.

Garsington Opera For All

Following Garsington Opera for All’s successful second year of free public screenings on beaches, river banks and parks in isolated coastal and rural communities, Handel’s sparkling masterpiece Semele will be screened in four areas across the UK in 2017. Free events are programmed for Skegness (1 July), Ramsgate (22 July), Bridgwater (29 July) and Grimsby (11 October).

María José Moreno lights up the Israeli Opera with Lucia di Lammermoor

I kept hearing from knowledgeable opera fanatics that the Israeli Opera (IO) in Tel Aviv was a surprising sure bet. So I made my way to the Homeland to hear how supposedly great the quality of opera was. And man, I was in for treat.

Cinderella Enchants Phoenix

At Phoenix’s Symphony Hall on Friday evening April 7, Arizona Opera offered its final presentation of the 2016-2017 season, Gioachino Rossini’s Cinderella (La Cenerentola). The stars of the show were Daniela Mack as Cinderella, called Angelina in the opera, and Alek Shrader as Don Ramiro. Actually, Mack and Shrader are married couple who met singing these same roles at San Francisco Opera.

LA Opera’s Young Artist Program Celebrates Tenth Anniversary

On Saturday evening April 1, 2017, Placido Domingo and Los Angeles Opera celebrated their tenth year of training young opera artists in the Domingo-Colburn-Stein Program. From the singing I heard, they definitely have something of which to be proud.

Gerhaher and Bartoli take over Baden-Baden’s Festspielhaus

The Festspielhaus in Baden-Baden pretty much programs only big stars. A prime example was the Fall Festival this season. Grigory Sokolov opened with a piano recital, which I did not attend. I came for Cecilia Bartoli in Bellini’s Norma and Christian Gerhaher with Schubert’s Die Winterreise, and Anne-Sophie Mutter breathtakingly delivering Mendelssohn’s Violin Concerto together with the London Philharmonic Orchestra. Robin Ticciati, the ballerino conductor, is not my favorite, but together they certainly impressed in Mendelssohn.

Mahler Symphony no 8 : Jurowski, LPO, Royal Festival Hall, London

Mahler as dramatist! Mahler Symphony no 8 with Vladimir Jurowski and the London Philharmonic Orchestra at the Royal Festival Hall. Now we know why Mahler didn't write opera. His music is inherently theatrical, and his dramas lie not in narrative but in internal metaphysics. The Royal Festival Hall itself played a role, literally, since the singers moved round the performance space, making the music feel particularly fluid and dynamic. This was no ordinary concert.

Rameau's Les fêtes d'Hébé, ou Les talens lyriques: a charming French-UK collaboration at the RCM

Imagine a fête galante by Jean-Antoine Watteau brought to life, its colour and movement infusing a bucolic scene with charm and theatricality. Jean-Philippe Rameau’s opéra-ballet Les fêtes d'Hébé, ou Les talens lyriques, is one such amorous pastoral allegory, its three entrées populated by shepherds and sylvans, real characters such as Sapho and mythological gods such as Mercury.

The Royal Opera House announces its 2017/18 season

Details of the Royal Opera House's 2017/18 Season have been announced. Oliver Mears, who will begin his tenure as Director of Opera, comments: “I am delighted to introduce my first Season as Director of Opera for The Royal Opera House. As I begin this role, and as the world continues to reel from social and political tumult, it is reassuring to contemplate the talent and traditions that underpin this great building’s history. For centuries, a theatre on this site has welcomed all classes - even in times of revolution and war - to enjoy the most extraordinary combination of music and drama ever devised. Since the time of Handel, Covent Garden has been home to the most outstanding performers, composers and artists of every era. And for centuries, the joyous and often tragic art form of opera has offered a means by which we can be transported to another world, in all its wonderful excess and beauty.”

St Matthew Passion: Armonico Consort and Ian Bostridge

Whatever one’s own religious or spiritual beliefs, Bach’s St Matthew Passion is one of the most, perhaps the most, affecting depictions of the torturous final episodes of Jesus Christ’s mortal life on earth: simultaneously harrowing and beautiful, juxtaposing tender stillness with tragic urgency.

Pop Art with Abdellah Lasri in Berliner Staatsoper’s marvelous La bohème

Lindy Hume’s sensational La bohème at the Berliner Staatsoper brings out the moxie in Puccini. Abdellah Lasri emerged as a stunning discovery. He floored me with his tenor voice through which he embodied a perfect Rodolfo.

New opera Caliban banal and wearisome

Listening to Moritz Eggert’s Caliban is the equivalent of watching a flea-ridden dog chasing its own tail for one-and-half hours. It scratches, twitches and yelps. Occasionally, it blinks pleadingly, but you can’t bring yourself to care for such a foolish animal and its less-than-tragic plight.

Two rarities from the Early Opera Company at the Wigmore Hall

A large audience packed into the Wigmore Hall to hear the two Baroque rarities featured in this melodious performance by Christian Curnyn’s Early Opera Company. One was by the most distinguished ‘home-grown’ eighteenth-century musician, whose music - excepting some of the lively symphonies - remains seldom performed. The other was the work of a Saxon who - despite a few ups and downs in his relationship with the ‘natives’ - made London his home for forty-five years and invented that so English of genres, the dramatic oratorio.

The "Lost" Songs of Morfydd Owen

A new recording, made late last year, Morfydd Owen : Portrait of a Lost Icon, from Tŷ Cerdd, specialists in Welsh music, reveals Owen as one of the more distinctive voices in British music of her era : a grand claim but not without foundation. To this day, Owen's tally of prizes awarded by the Royal Academy of Music remains unrivalled.

Enchanting Tales at L A Opera

On March 24, 2017, Los Angeles Opera revived its co-production of Jacques Offenbach’s The Tales of Hoffmann which has also been seen at the Mariinsky Opera in Leningrad and the Washington National Opera in the District of Columbia.

OPERA TODAY ARCHIVES »

Reviews

Roberto Saccà as Alexey, Susan Bickley as Babulenka and Angela Denoke as Paulina [Photo by Clive Barda courtesy of Royal Opera House]
09 Mar 2010

The Gambler, London

The global credit crunch, with its painful exposure of the moral and literal bankruptcy of our own age, provides the perfect backdrop for this new production of Prokofiev’s The Gambler, the first ever staging of this opera at The Royal Opera House, Covent Garden.

Sergey Prokofiev: The Gambler

Roberto Saccà: Alexey; Angela Denoke ; Paulina; John Tomlinson: The General; Jurgita Adamonyte: Blanche; Kurt Streit: The Marquis; Susan Bickley: Babulenka; Mark Stone: Mr Astley. Director: Richard Jones. Conductor: Antonio Pappano. Royal Opera House, Covent Garden, London. Thursday 11th February, 2010.

Above: Roberto Saccà as Alexey, Susan Bickley as Babulenka and Angela Denoke as Paulina

All photos by Clive Barda courtesy of Royal Opera House

 

As our hapless politicians stake the security of future generations, and self-absorbed bankers obsessively take their chances with the populace’s finances, it sometimes seems that the world stability hangs not on the spin-doctors’ platitudes but on the spin of the Dow Jones’ roulette wheel.

Dostoyevsky’s 1866 novel The Gambler provided Prokofiev with the inspiration for this tale of economic and emotional ruin. The drama takes place in an hotel in a fictional German spa resort, Roulettenburg — reminiscent of the Baden-Baden where Dostoevsky recklessly propelled himself into bankruptcy. As the twinkling signs adorning the front curtain unambiguously declare, the Casino is the place to be, and gambling the only occupation to distract the assorted European residents from their ennui and snobbery.

Gambler_ROH_05.pngKurt Streit as the Marquis and John Tomlinson as the General

Alexey, tutor to the widowed General’s children, is passionately in love with the latter’s step-daughter, Paulina. Unaware that she is indebted to the Marquis, Alexey has tried to ease her despair, and win her heart, by gambling with the proceeds from her sold jewellery, but he has lost all the money. Meanwhile, the impoverished General waits impatiently for his elderly aunt, Babulenka, to die, so that he can inherit her fortune, marry his courtesan mistress, Blanche, and relieve himself of his own obligations to the Marquis. Unfortunately, Babulenka proves rather more robust than her relations had hoped or anticipated; she arrives at the spa town to recuperate, and is herself enticed into the gamblers’ den. As she frits away the family’s inheritance, Blanche turns her attentions to more lucrative suitors, while the General collapses in despair.

Alexey finds Paulina in his hotel room; she is being pursued by the Marquis for her outstanding debts, and begs him to find the money to save her from selling herself on the marriage-market. In the casino, Alexey has an amazing streak of lucky and breaks the bank. Yet, when her offers Paulina the money she angrily declines; her love cannot be bought. By this stage, Alexey is so consumed with the ecstasy of his winning streak that he forgoes all thoughts of human love for the thrill of the roulette wheel.

Determining to imitate the naturalist idiom with which Mussorgsky experimented in Boris Godunov, Prokofiev produced his own libretto, here rendered in David Poutney’s translation which retains the unrhymed dialogue of the original. Essentially the text is a stream of continuous recitative — although on this occasion the diction was so poor that one couldn’t actually hear a word! — and this relentless melodic uniformity is one of the problems which any production must overcome. For, while there is much power in Prokofiev’s score it is not immediately touching or involving and the listener can feel rather distanced from the onstage action, at least in the opening two acts.

Gambler_ROH_06.pngJohn Tomlinson as the General and Jurgita Adamonyte as Blanche

Richard Jones does his best to draw us into the characters’ dilemmas and traumas. He imaginatively updates the action to the 1930s, and the décor is stylishly and imaginatively designed by Antony McDonald. A sharp perspective ensnares the audience’s eye, mimicking the irresistible force of the addict’s compulsion and the undeniable gravitational pull of the roulette ball’s progress. This is a perfect visual match for Prokofiev’s unyielding score, its driving ostinati conveying the inescapable urges and cravings of the gamblers who stake all on the roulette ball’s destiny. In this regard, the composer saves the most chillingly evocative instrumentation for Act 3, in the Casino, where the clientele and croupiers of Jones’ casino scuttle about like demented pinballs, their lurid costumes flashing and spinning, before taking their places in rigid rows like the resting columns of a one-armed bandit.

Jones’ garish, anti-naturalistic staging highlights the extremism of Dostoevsky’s vision. In Act 1 the leisured guests stroll through the zoological gardens; barred windows denote the cages, but who is looking in and who out? It’s a grotesque menagerie, for morally misshapen disreputables — symbolised by a dancing seal (heroically performed by the costumed dancer), whose ghastly writhing betokens the bestial urges to which all succumb. On a projection screen, a tiger paces back and forth impatiently, trapped in its small cage, hinting at the cruelty and viciousness which lurks beneath the aristocratic veneer of the hotel lounge.

Gambler_ROH_01.pngRoberto Saccà as Alexey and Angela Denoke as Paulina

The dramatic temperature is at boiling even before the opera begins, and there is little light and shade in the opening acts. There is a large ensemble cast, to which Jones added even more characters — seen, for example, running feverishly across the stage during the impassioned overture, and returning during the final scene to intrude on Alexey’s closing number (and somewhat diminishing the poignancy of his rejection by Paulina). The revolving doors of the hotel fling a continual stream of guests into the lounge, and the atmosphere is tense and frenetic. However, Prokofiev’s score does possess moments of lyricism, most noticeably for Alexey, Paulina and Babulenka who, with a nod in the direction of the literary original, are the most sympathetic characters. Dressed like Russian peasants (costumes by Nicky Gillibrand), they intimate a nostalgia for a Russia unsullied by European vices — indeed, having lost all her wealth, Babulenka returns to her Russian village — and exhibit real ‘human’ emotions, conjured by brief melodic fragments which float above the grinding dissonances of the obsessively busy score.

Tenor Roberto Saccà, as Alexey, was in powerful voice, and certainly had the necessary stamina for this demanding part. He injected drama and emotion into the role at every opportunity, finding a variety of colourings to reflect his transformation from guileless lover to heartless addict. In the role of Paulina, Angela Denoke displayed a strong, well-centred tone, appropriately suggesting wilfulness, confidence and, at the close, honest self-recognition.

Gambler_ROH_04.pngScene from The Gambler

Making a ‘Lady Bracknell-esque’ entrance, Susan Bickley was a vigorous, life-loving Babulenka. She was both strident and tender, as the drama demanded; and the contrast between her initial headstrong independence and subsequent disappointment was touching and full of pathos. Strong, sustained characterisation was also a praiseworthy feature of baritone Mark Stone’s mysterious Mr Astley and the Marquis of tenor Kurt Streit. Most impressive of all, John Tomlinson’s General was a superlative presentation of a defeat and delusion; his act 3 mad scene was a tour de force.

In this ‘recitative opera’ it is in fact the score which tells the story. The ROH orchestra were once more on tremendous form, as Pappano relished the pounding rhythms, driving tempi and the thick brassy timbre, expertly exercising control in the pit as the characters on stage spun into moral chaos.

By the final act, the mercenary financiers — the so-called ‘gentlemen’ — have gambled with Fate and lost both their money and their souls. Alexey has thrown away his innocence and exchanged Paulina’s love for a banker’s safe. This is not just a social satire but a real human tragedy. All are in the grip of vices which consume them. You can’t beat the odds or evade your destiny, and we ignore this disturbing lesson at our own peril.

Claire Seymour

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):