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

Pacific Opera Project Recreates Mozart and Salieri Contest

On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.

Powerful chemistry in La Cenerentola in Cologne

Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.

Tannhäuser: Royal Opera House, London

London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.

The Golden Cockerel in Düsseldorf

Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.

San Diego Opera Presents a Tragic Madama Butterfly

On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.

Simon Rattle conducts Tristan und Isolde

New Co-Production Tristan und Isolde with Metropolitan: Simon Rattle and Westbroek electrify Treliński’s Opera-Noir.

San Jose’s Smooth Streetcar Ride

In an operatic world crowded with sure-fire bread and butter repertoire, Opera San Jose has boldly chosen to lavish a new production on a dark horse, Andre Previn’s A Streetcar Named Desire.

Roméo et Juliette: Dutch National Opera and Ballet seal merger with leaden Berlioz

Choral symphony, oratorio, symphonic poem — Berlioz’s Roméo et Juliette does not fit into any mould. It has the potential to work as an opera-ballet, but incoherent storytelling and uninspired conducting undermined this production.

Donizetti : Lucia di Lammermoor, Royal Opera House

When Kasper Holten took the precaution of pre-warning ticket-holders that the Royal Opera House’s new production of Lucia di Lammermoor featured scene portraying ‘sexual acts’ and ‘violence’, one assumed that he was aiming to avert a re-run of the jeering and hectoring that accompanied last season’s Guillaume Tell. He even went so far as to offer concerned patrons a refund.

Five Reviews of Regina at Maryland Opera Studio

These are five very different reviews by students at the University of Maryland on its Opera Studio production of Regina — an interesting, informative and entertaining read . . .

Three Cheers for the English Touring Opera

‘Remember me, the one who is Pia;/ Siena made me, Maremma undid me.’ The speaker is Pia de’ Tolomei. She appears in a brief episode of Dante’s Divine Comedy (Purgatorio V, 130-136) which was the source for Gaetano Donizetti’s Pia de’ Tolomei - by way of Bartolomeo Sestini’s verse-novella of 1825.

Andriessen's De Materie at the Park Avenue Armory

"The large measure of formalism which forms the basis of De Materie does not in itself offer any guarantee that the work will be beautiful," says Dutch composer Louis Andriessen of his four-movement opera.

Falstaff Makes a Big Splash in Phoenix

On April 1, 2016, Arizona Opera presented Falstaff by Giuseppe Verdi (1813-1901) and Arrigo Boito (1842-1918) in Phoenix. Although Boito based most of his libretto on Shakespeare’s The Merry Wives of Windsor, he used material from Henry IV as well. Verdi wrote the music when he was close to the age of eighty. He was concerned about his ability at that advanced age, but he was immensely pleased with Boito’s text and decided to compose his second comedy, despite the fact that his first, Un giorno di regno, had not been successful.

Svadba in San Francisco

The brand new SF Opera Lab opened last month with artist William Kentridge’s staged Schubert Winterreise. Its second production just now, Svadba-Wedding — an a cappella opera for six female voices — unabashedly exposes the space in a different, non-theatrical configuration.

Benvenuto Cellini in Rome

One may think of Tosca as the most Roman of all operas, after all it has been performed at the Teatro Costanzi (Rome’s opera house) well over a thousand times since 1900. Though equally, maybe even more Roman is Hector Berlioz’ Benvenuto Cellini that has had only a dozen or so performances in Rome since 1838.

New from Opera Rara : Gounod La Colombe and Donizetti Le Duc d'Albe

Two new recordings from highly acclaimed specialists Opera Rara - Gounod La Colombe and Donizetti Le Duc d'Albe.

Handel : Elpidia - Opera Settecento

Roll up! A new opera by Handel is to be performed, L’Elpidia overo li rivali generosi. It is based upon a libretto by Apostolo Zeno with music by Leonardo Vinci - excepting a couple of arias by Giuseppe Orlandini and, additionally, two from Antonio Lotti’s Teofane (which the star bass, Giuseppe Maria Boschi , on bringing with him from the Dresden production of 1719).

Roberto Devereux in Genova

Radvanovsky in New York, Devia in Genoa — Donizetti queens are indeed in the news! Just now in Genoa Mariella Devia was the Elizabeth I for her beloved Roberto Devereux in a new trilogy of Donizetti queens (Maria Stuarda and Anne Bolena) directed by baritone Alfonso Antoniozzi.

The Importance of Being Earnest, Royal Opera

‘All men become like their mothers. That is their tragedy. No man does. That is his.’ ‘Is that clever?’ ‘It is perfectly phrased!’

Mahler’s Third, Concertgebouw

Evolving in Mahler’s Third: Dudamel and L.A. Philharmonic’s impressive adaption to the Concertgebouw

OPERA TODAY ARCHIVES »

Reviews

Justine Viani (Salome) [Photo by Markus Kaesler courtesy of Theater der Stadt Heidelberg]
17 Apr 2010

Why Can't a Girl Get a Head in Heidelberg?

Had John Carpenter come up with the “beheading” of John the Baptist, it might have not been too much different from the effect we endured in the new Salome produced by the Heidelberg City Theatre.

Richard Strauss: Salome

Salome: Justine Viani; Jochanaan: Peter Felix Bauer; Herodias: Carolyn Frank; Herodes: Winfrid Mikus; Narraboth: Emilio Pons; Page: Christina Mueskens; First Nazarene: Wilfried Staber; Second Nazarene: Sebastian Geyer; Slave: Annika Sophie Rittlewski; Cappadocian: David Otto; First Soldier: Philipp Stelz; Second Soldier: Tokuichi Toyota; First Jew: Seung Kwon Yang; Second Jew: Young Kyoung Won; Third Jew: Dagang Zhang; Fourth Jew: Sang Hoon Lee; Fifth Jew: Michael Zahn.

Above: Justine Viani as Salome

All photos by Markus Kaesler courtesy of Theater der Stadt Heidelberg

 

For after the quivering soldier-as-executioner drops the axe in fright (at the moment the music tells us the head, not the axe, falls to the ground), a determined Herodias strides up to the kneeling prophet, switchblade in hand, and gruffly slits his throat with a spray of blood on the Plexiglas walls of the central cubicle-cum-wrestling-ring. That whole pesky “cistern” thing? Fuggedaboudit. Or anything remotely resembling the Oscar Wilde-Richard Strauss creation.

The entire design and directorial conceit seemed to hang upon a unit set which approximated, what, a circus ring? Amphitheatre? Upscale medical classroom? Downscale cruising bar? The performers sauntered on before the houselights dimmed and took their places remaining onstage until a) the opera ended, or b) they died, whichever came first. The semi-circle of steps and platforms also served as a wall on which Herodias relentlessly paced for what seemed like the first third of the piece, and frequently thereafter. Betchya didn’t know this was all about Herodias, now didja?

When Narraboth sings “wie schoen ist die Prinzessin Salome” we don’t really know who or where she is. We do see Lady H promenading prominently in the focal point looking oddly like Miss Manners, in a black, partially sequined gown that might be seen at a SoHo gallery opening. After praying that this (nonetheless handsomely mature) woman was not our heroine, all I could think was “wie alt is die Prinzessin Salome heute Nacht.” That fear was allayed — sort of — when we come to realize that indeed our young princess was someone else, and cozying up to daddy on a stair stage left. Our Salome looked like a Mall-rat, got up in black leg warmers, teal high-heeled boots to mid-calf and — well, what might have passed for a First Communion dress. Except, whoa, we hadn’t lived that part of history yet.

This box, this …this…’thing’ center stage “must have been about something.” Except I don’t know what. Nor did my well-read colleague who was seated next to me. Nor, in fact, did one of the principle singers in the production. No one knew what this rotating square platform with plexiglass walls actually was. In Euro-trash-circles, that can only mean one thing: it was gasp “important.”

All sorts of foolishness went on in this space. Salome and John squared off in as un-erotic a duet staging as I hope to never encounter again. Salome’s lascivious dance consisted of her dumping several buckets of sand in the middle of the square. Then she and Herod played in it like two demented pre-schoolers. They giggled, they built mounds of sand, they scattered the other’s creations, and then by golly, Our Gal Sal starting jumping up and down in it. Well, daddy was having none of that, so he packed sand around her feet so she Could. Not. Move. That showed her, by golly. There she was, dance music throbbing sensuously, cemented in place by three inches of sand. In fairness, she did break loose and came up with a veil. Okay, okay it was a triangle of cloth with which she blindfolded Herod, who wore what appeared to be a paper crown throughout, a look that was a cross between a Burger King hat and Bart Simpson’s hair-do.

Salome_008.gifPeter Felix Bauer as Jochanaan and Justine Viani as Salome

There was no end to the inventions. In lieu of Jokanaan’s voice booming from a cistern, he sang through a bullhorn, often from a fetal position tucked under a step. The Page is attired in a cocktail dress as a woman throughout, ditto the Slave Girl who, got up as the household’s maid, gets strangled by Herod. Guess she left one too many Windex streaks on the Plexiglas. Dead bodies were dispatched through a door in one of the stairs, not unlike the window seat in Arsenic and Old Lace (and twice as funny). How Narraboth dies is anyone’s guess. He was far upstage and seemed to smear something on his hand which he then stuck in…what…a socket? There was a little spark and then he fell down. I honestly thought the effect must have mis-fired, but while I was assured it hadn’t…it did. At least his means of death didn’t cause that pesky blood-flow that Herod complains about in the text. Oh, wait. Oh, damn. There was no blood. What was that Krazy King talkin’ ‘bout?

The throat-slitting leaves Salome without a head of her own, of course, so she plays with the one that is still attached to the dead body. And ooh, she gets nasty with it. By the time she actually straddles Jokanaan…what the heck? He comes back to life! And they roll around in a lip lock, groping and stroking. Ah, but this is all in her head, you see. (I think.) And when Herod orders someone to kill her, well, no one does.

For the record I should tell you that Aurelia Eggers directed this mess, and never has someone succeeded in making so little out of so much. I used to think Salome was so powerful it was fool-proof, but then I had failed to reckon with the foolishness of Ms. Eggers. Stephan Mannteufel’s set design at least had the benefit of cleanly professional execution. Andreas Rehfeld’s lighting missed nearly every opportunity inherent in the piece. Where was the sudden sliver of moonlight that reveals the debauched princess prompting her father to command her death? How could so little attention be paid to such things? The costumes from Veronika Lindner were all over the place, and while they were not overtly offensive, they were also not in any way helpful to the characterizations.

Happily the musical side of the evening was considerably more rewarding. From the very first phrase, Emilio Pons as Narraboth revealed a robust lyric tenor that was beautifully deployed throughout his vocal appearance. This was an especially commanding interpretation from this wonderful artist and it should open doors to major houses. Peter Felix Bauer is already a very fine Jokanaan, with a secure, buzzing baritone voice of ample size that speaks over the orchestra throughout the range. It is understandable that this young singer is still feeling his way through the mechanics of a phrase here, an interval there, but his is an exciting future in this role as his voice matures and he gets more experience in the part.

Winfrid Minkus also had a very good night as Herod, singing (and never once shouting) with clarity and good dramatic understanding. The goofiness of the staging held him back somewhat, but he offered good insights and a commanding presence. Ditto the powerhouse Herodias from company member Carolyn Frank. This was my first encounter with Ms. Frank but if ever there was a perfect match of vocal prowess and role, this was it. Her hurled declarations of “Meine Tocher hat recht getan” were bone chilling.

Sebastian Geyer’s light-voiced baritone was enjoyable as the Second Nazarene, but Wilfried Staber’s richly projected First Nazarene stole that scene and was a real highlight. I usually find the hectoring segment with the Five Jews something to be endured until we can get on with the story, but here it was very well sung by Young Kyoung Wan, Dagang Zhang, Sang Hoon Lee, Michale Zahn and, especially Tokuichi Toyota. Riveting stuff.

I would like to report that with title role debutante Justine Viani we had discovered another Birgit. But for all of her hard work, and considerable talent, I am truly sorry I cannot. For I liked her. I admired her pluck, and her concentration, and her stage presence, and her quite lovely soprano instrument. There was much that she sang that was sensitively phrased, and potentially affecting. But her unidiomatic German early on, and her lack of steely richness in the lower middle, robbed her performance of the impact that is needed in those long parlando exposition passages. By the time of the great final scene, she was not only pronouncing it well, but her voice was living vibrantly in the more grateful upper stretches of the writing. Despite the quite rapturous reception from the first-nighters, I don’t think Ms.Viani’s current gifts are an optimal match for this cruelly difficult part.

Conductor Cornelius Meister led a well-judged reading, cleanly executed by a beautifully rehearsed ensemble of musicians who were in top form. In a monster-piece like this, virtuoso playing is de rigeur and the Heidelberg pit did themselves proud. Maestro Meister is young, and surely time and experience will deepen his feeling for the piece. Like his Dutchman in Munich last spring, I felt that he conducts with consummate skill and control, but he does not yet get the orchestra to partner and support the drama. They need to be living it with the singers. He is supremely gifted. He has a bright future. And the opera world needs him. I would caution him that when he is in a continual spotlight, he should resist smiling proudly as the orchestra has played something to his liking — a boyishly grinning conductor does not quite mesh with lurid acts of necrophilia on stage.

Ja, ja, at the end of the night I felt numbed by the staging, but honestly buoyed by the high musical quality. The Publikum responded in kind with resounding approval for the soloists, conductor. and musicians, and well, they couldn’t even work up the energy to disapprove of the production with the usual hissing and booing. This tepid indifference is perhaps the best response. I mean, sure they turned Salome on its, um, head. But why bother losing ours over it?

James Sohre

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):