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

Donizetti Poliuto, Glyndebourne

Donizetti Poliuto at Glyndebourne could well become one of of the great Glyndebourne classics. It makes a powerful case for the opera, and also for Glyndebourne's artistic vision. Poliuto isn't standard repertoire - it's nothing like L'elisir d'amore - but this brilliant production and performances show what a powerful work it is

Pacific Opera Project Presents Ariadne auf Naxos

Pacific Opera Project, a small Los Angeles company, presented a production of Richard Strauss's Ariadne auf Naxos at the Ebell Club with an excellent group of young singers at the beginning of what should be good careers.

Varispeed pushes the possibilities of opera forward with Robert Ashley’s Crash

Six people, dressed in ordinary clothing, sitting in a row at desks adorned only with microphones and glasses of water, and talking for ninety minutes: is it opera?

Rising Stars in Concert, Lyric Opera of Chicago

The spring concert of Rising Stars in Concert, sponsored by and featuring current members of the Patrick G. and Shirley W. Ryan Opera Center at Lyric Opera of Chicago, showcased a number of talents that will no doubt continue to grace the stages of the world’s operatic theaters.

The Singers Sparkle in New York Opera Exchange’s Carmen

New York Opera Exchange’s production of Carmen from May 8th to 10th highlighted that which opera devotees have been saying for years: Opera, far from being dead, is vibrant and evolving.

‘Where’er You Walk’: Handel’s Favourite Tenor

I have sometimes lamented the preference of Ian Page’s Classical Opera for concert performances and recordings over staged productions, albeit that their renditions of eighteenth-century operas and vocal works are unfailingly stylish, illuminating and supported by worthy research.

The Pirates of Penzance, ENO

Topsy Turvy, Mike Leigh’s 1999 film starring Timothy Spall and Jim Broadbent, dramatized the fraught working relationship of William Gilbert and Arthur Sullivan; it won four Oscar nominations (garnering two Academy Awards, for costume and make-up) and is a wonderful exploration of the creative process of bringing a theatrical work to life.

Manitoba Opera: Turandot

There’s little doubt that Puccini’s Turandot is a flawed, illogical fairytale. Yet it continues to resonate today with its undying “love shall conquer all” ethos, where even the most heinous crimes may be forgiven by that which makes the world go ‘round.

Mariachi Opera El Pasado Nunca se Termina Comes to San Diego

On April 25, 2015, San Diego Opera presented it’s second Mariachi opera: El Pasado Nunca se Termina (The Past is Never Finished) by Jose “Pepe” Martinez, Leonard Foglia and Mariachi Vargas de Tecalitlán.

Antonio Pappano: Royal Opera House Orchestral Concerts

Ambition achieved! Antonio Pappano brought the Orchestra of the Royal Opera House out of the pit and onto the stage, the centre of attention in their own right.

Bedřich Smetana: Dalibor, Barbican Hall

Jiří Bělohlávek’s annual Czech opera series at the Barbican, London, with the BBC SO continued with Bedřich Smetana’s Dalibor.

Orlando Explores Art Without Boundaries

R.B. Schlather’s production of Handel’s Orlando asks the enigmatic question: Where do the boundaries of performance art begin, and where do they end?

The Virtues of Things

A good number of recent shorter operas, particularly those performed in this country, made a stronger impression with their libretti than their scores.

Król Roger, Royal Opera

It has taken almost 89 years for Karol Szymanowski’s Król Roger to reach the stage of Covent Garden.

San Diego Opera Celebrates 50 Years of Great Singing

San Diego Opera, the company that General Manager Ian Campbell had scheduled for demolition, proved that it is alive and singing as beautifully as ever. Its 2015 season was cut back slightly and management has become a bit leaner, but the company celebrated its fiftieth season in fine style with a concert that included many of the greatest arias ever written.

Hercules vs Vampires: Film Becomes Opera!

In the early sixties, Italian film director Mario Bava was making pictures with male body builders whose well oiled physiques appeared spectacular on the screen.

J. C. Bach: Adriano in Siria

At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme each season during the next 27 years to exploring the music by Mozart and his contemporaries which was being written and performed exactly 250 years previously.

Bethan Langford, Wigmore Hall

The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.

Tansy Davies: Between Worlds (world premiere)

An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.

Arizona Opera Ends Season in Fine Style with Fille du Régiment

On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.

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):