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 Performances

Classical Opera/The Mozartists celebrate 20 years of music-making

Classical Opera celebrated 20 years of music-making and story-telling with a characteristically ambitious and eclectic sequence of musical works at the Barbican Hall. Themes of creation and renewal were to the fore, and after a first half comprising a variety of vocal works and short poems, ‘Classical Opera’ were succeeded by their complementary alter ego, ‘The Mozartists’, in the second part of the concert for a rousing performance of Beethoven’s Choral Symphony - a work described by Page as ‘in many ways the most iconic work in the repertoire’.

Back to Baroque and to the battle lines with English Touring Opera

Romeo and Juliet, Rinaldo and Armida, Ramadès and Aida: love thwarted by warring countries and families is a perennial trope of literature, myth and history. Indeed, ‘Love and war are all one,’ declared Miguel de Cervantes in Don Quixote, a sentiment which seems to be particularly exemplified by the world of baroque opera with its penchant for plundering Classical Greek and Roman myths for their extreme passions and conflicts. English Touring Opera’s 2017 autumn tour takes us back to the Baroque and back to the battle-lines.

Gluck’s Orphée et Eurydice at Lyric Opera of Chicago

Christoph Willibald von Gluck’s Orphée et Eurydice opened the 2017–18 season at Lyric Opera of Chicago.

Michelle DeYoung, Mahler Symphony no 3 London

The Third Coming ! Esa-Pekka Salonen conducted Mahler Symphony no 3 with the Philharmonia at the Royal Festival Hall with Michelle DeYoung, the Philharmonia Voices and the Tiffin Boys’ Choir. It was live streamed worldwide, an indication of just how important this concert was, for it marks the Philharmonia's 34-year relationship with Salonen.

King Arthur at the Barbican: a semi-opera for the 'Brexit Age'

Purcell’s and Dryden’s King Arthur: or the British Worthy presents ‘problems’ for directors. It began life as a propaganda piece, Albion and Albanius, in 1683, during the reign of Charles II, but did not appear on stage as King Arthur until 1691 when William of Orange had ascended to the British Throne to rule as William III alongside his wife Mary and the political climate had changed significantly.

Anne Schwanewilms sings Schreker, Schubert, Liszt and Korngold

On a day when events in Las Vegas cast a shadow over much of the news this was not the most comfortable recital to sit through for many reasons. The chosen repertoire did, at times, feel unduly heavy - and very Germanic - but it was also unevenly sung.

The Life to Come: a new opera by Louis Mander and Stephen Fry

It began ‘with a purely obscene fancy of a Missionary in difficulties’. So E.M. Forster wrote to Siegfried Sassoon in August 1923, of his short story ‘The Life to Come’ - the title story of a collection that was not published until 1972, two years after Forster’s death.

Aida opens the season at ENO

Director Phelim McDermott’s new Aida at ENO seems to have been conceived more in terms of what it will look like rather than what the opera is or might be ‘about’. And, it certainly does look good. Designer Tom Pye - with whom McDermott worked for ENO’s Akhnaten last year (alongside his other Improbable company colleague, costume designer Kevin Pollard) - has again conjured striking tableaux and eye-catching motifs, and a colour scheme which balances sumptuous richness with shadow and mystery.

La Traviata in San Francisco

A beautifully sung Traviata in British stage director John Copley’s 1987 production, begging the question is this grand old (30 years) production the SFO mise en scène for all times.

The Judas Passion: Sally Beamish and David Harsent offer new perspectives

Was Judas a man ‘both vile and justifiably despised: an agent of the Devil, or a man who God-given task was to set in train an event that would be the salvation of Humankind’? This is the question at the heart of Sally Beamish’s The Judas Passion, commissioned jointly by the Orchestra of the Age of Enlightenment and the Philharmonia Baroque of San Francisco.

Choral at Cadogan: The Tallis Scholars open a new season

As The Tallis Scholars processed onto the Cadogan Hall platform, for the opening concert of this season’s Choral at Cadogan series, there were some unfamiliar faces among its ten members - or faces familiar but more usually seen in other contexts.

Stars of Lyric Opera 2017, Millennium Park, Chicago

As a prelude to the 2017-18 season Lyric Opera of Chicago presented its annual concert, Stars of Lyric Opera at Millennium Park, during the last weekend. A number of those who performed in this event will be featured in roles during the coming season.

Die Zauberflöte at the ROH: radiant and eternal

Watching David McVicar’s 2003 production of Die Zauberflöte at the Royal Opera House - its sixth revival - for the third time, I was struck by how discerningly John MacFarlane’s sumptuous designs, further enhanced by Paule Constable’s superbly evocative lighting, communicate the dense and rich symbolism of Mozart’s Singspiel.

Fantasy in Philadelphia: The Wake World

Composer and librettist David Hertzberg’s magical mystery tour that is The Wake World opened to a cheering sold out audience that was clearly enraptured with its magnificent artistic achievement.

A Mysterious Lucia at Forest Lawn

On September 10, 2017, Pacific Opera Project (POP) presented Gaetano Donizetti’s Lucia di Lammermoor in a beautiful outdoor setting at Forest Lawn. POP audiences enjoy casual seating with wine, water, and finger foods at each table. General and Artistic Director Josh Shaw greeted patrons in a “blood stained” white wedding suit. Since Lucia is a Scottish opera, it opened with an elegant bagpipe solo calling members of the audience to their seats.

This is Rattle: Blazing Berlioz at the Barbican Hall

Blazing Berlioz' The Damnation of Faust at the Barbican with Sir Simon Rattle, Bryan Hymel, Christopher Purves, Karen Cargill, Gabor Bretz, The London Symphony Orchestra and The London Symphony Chorus directed by Simon Halsey, Rattle's chorus master of choice for nearly 35 years. Towards the end, the Tiffin Boys' Choir, the Tiffin Girls' Choir and Tiffin Children's Choir (choirmaster James Day) filed into the darkened auditorium to sing The Apotheosis of Marguerite, their voices pure and angelic, their faces shining. An astonishingly theatrical touch, but absolutely right.

Moved Takes on Philadelphia Headlines

There‘s a powerful new force in the opera world and its name is O17.

Philly Flute’s Fast and Furious Frills

If you never thought opera could make your eyes cross with visual sensory over load, you never saw Opera Philadelphia’s razzle-dazzle The Magic Flute.

At War With Philadelphia

Enterprising Opera Philadelphia has included a couple of intriguing site-specific events in their O17 Festival line-up.

The Mozartists at the Wigmore Hall

Three years into their MOZART 250 project, Classical Opera have launched a new venture, The Mozartists, which is designed to allow the company to broaden its exploration of the concert and symphonic works of Mozart and his contemporaries.

OPERA TODAY ARCHIVES »

Performances

Mefisto
17 May 2010

Mefistofele in Montpellier

Back in 1989 Ken Russell opened his Genovese Mefistofele with heavenly choirs contemplating the divinity of a praying mantis.

Arrigo Boito: Mefistofele

Mefistofele: Konstantin Gorny; Faust: Gustavo Porta; Margherita/Elena Takesha Meshé Kizart; Martha/Pantalis: Christine Solhosse; Wagner/Nereo: Maurizio Pace. Orchestra National de Montpellier Choruses of the Opéra National de Montpellier and the Opéra Royal de Wallonie. Opéra Junior Montpellier Children's chorus. Conductor: Patrick Davin. Stage director: Jean-Louis Grinda. Set design: Rudy Sabounghi. Costumes: Buki Schiff. Lighting: Laurent Castaingt.

All photos by Marc Ginot for the Opéra National de Montpellier.

 

Earlier this spring Jean-Louis Grimpa had a flock of chickens perform his Falstaff in Monaco, though just now messieur Grimpa resurrected his 2007 Liège (Belgium) Mefistofele in Montpellier (May 4) with actual homo sapiens to embody Goethe’s Faustian characters.

Not that these humans brought any deep humanity to Boito’s highly concocted version of the Goethe Faust as Jean-Louis Grimpa rendered this austere battle of the here and the hereafter as pure farce. Mr. Grimpa does have valid claim to knowing earthly pleasures as he was born in Monaco and is now the intendant of the Monte Carlo opera, his treatment of this Faust opera however quells speculation as to any possible spiritual credentials.

The Opéra National de Montpellier was a willing partner in the project, assembling a fine cast that brought added dimension to operatic farce, notably tenor Argentine Gustavo Porta as Faust who exploits the complete catalogue of tenor mannerisms in unrelenting spinto projection, and young American soprano Takesha Meshé Kizart as Margherita who shows herself a committed student of diva mannerisms that she is instinctively placing in the service of her fine Italianate instrument.

Boito’s opera gave these two singers ample opportunity to show their stuff and that they did, strutting as singers might but coming close to giving us the splendid, over-ripe vocalism that will flower in post Verdian opera. Mlle. Meshé Kizart delivered the vivid prison scene that heralds her salvation moving effectively between chest and head voice, and ultimately arriving at a qualified artistic salvation of her incipient diva mannerisms. Mr. Porta knew that he was artistically saved all along because we are all suckers for Italian tenors.

In its program booklet Montpellier pronounced the Mefistofole premiere to be in 1868 at La Scala, though what we heard was the much modified (and significantly shortened) 1881 version that pleased audiences who preferred real Italian opera and cared little about Teutonic philosophy. Like its reviled predecessor (Gounod’s 1859 version) its operatic heart winds up in the tempestuous Faust/Margarite encounter. Boito was however undaunted by the Goethe Book II which he incorporates in the last two of his opera’s seven scenes — Helen of Troy’s seduction of Faust and finally the salvation of Faust.

The oblique progression of Faust’s salvation and Mefistofele’s defeat in this final version lends itself to farce because its story became so simply told in such brief terms. Where Ken Russell’s brilliant metaphors deepened an audience’s intellectual involvement and thereby retained Goethe’s seriousness Jean-Louis Grimpa realizes Mefistofele as an arch-villain who materializes dressed in a red velvet suit and bathed in red light. He parades himself in front of the heavenly choirs seated on bleachers amidst floating clouds.

And from this moment on Mr. Grimpa with Boito demand that their Mefisto tower over every scene. The name of the opera after all is Mefistofele. That he did. Russian bass Konstantin Gorny made the Mefisto of your dreams, charming and seductive he exuded a irresistible commitment to pleasure that never flagged. His grandest moment occurred when, banned from the ancient world (because he did not yet exist) he exulted in Grecian beauty from the audience, perched on a balcony railing, legs dangling into the void.

_GMA9341.gif

Mr. Grimpa and his accomplices, set designer Rudi Sabounghi and costume designer Buki Shiff, are theatrically savvy indeed. The set was minimalism at its most eloquent, a downstage false proscenium made of worldly wood against heavens rendered by projected clouds and mists, and mirrors to make it infinite. Though Mefisto simply changed into a black leather suit to become Faust’s mentor chorus costuming was quite elaborate They were first white robed angels, then a huge variety of circus players, then black and white spirits later becoming toga draped Greeks, and once again white robed angels, a hundred or so of them. No expense spared to create this spectacle.

This witty costuming more than anything else created the farce, and the movements of the players effected by director Grimpa complemented these costuming abstractions. Mr. Grimpa consistently utilized extended diagonal movement that accelerated Boito’s already sketchy story telling. Faust’s seduction of Margarite as example was a masterpiece of stage direction interweaving Mefisto resisting Martha’s advances with Faust pursuing Margarite in movement that was linearly musical (in perfect step with Boito’s complex quartet) rather than theatrically dramatic.

The pit was entrusted to French conductor Patrick Davin who kept the massive choral and orchestral forces required by Boito in absolute control without neglecting the construction of the opera’s huge climactic moments. That these climaxes were rarely satisfying can possibly be blamed on Boito’s compositional naivete, as perhaps the thwarted musical resolutions of some of the arias can be as well. Or maybe Mo. Davin is just not Italian.

_GMA9585.gif

The stars of this show were the choruses, one hundred or so (the chorus from Wallonie journeyed down to join the Montpellier chorus) plus thirty or so singing cherubs. While Boito’s grand choruses did sometimes expose naivete, at other times he pulled out the stops to create complex choral structures, notably the giant fugue in witches‘ Sabbat scene, impeccably executed with appropriate glee. To the aplomb of this choral accomplishment you can add that of the children’s chorus, delivering difficult part writing never out of sync with Mo. Davin.

And finally, Faust saved, Mefistofele was driven from the scene, pelted with rose petals hurled [!] by three innocent cherubim, as clouds of rose pedals floated down from the Opéra Berlioz ceiling coating the audience with one last bit of heavenly fun.

Michael Milenski

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):