22 Jun 2010
Idomeneo at ENO
Mozart was reputedly more attached to this musical drama of hubris and honour set during the Trojan War than to any other of his stage works.
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.
Mozart was reputedly more attached to this musical drama of hubris and honour set during the Trojan War than to any other of his stage works.
Idomeneo is a natural product of the courtly world of the Enlightenment — its hierarchies, values and symbols. It should be perfectly possible to translate this tale of vengeful Gods, proud Kings, of the passage from youth to age, and of human sacrifice, to a contemporary setting. Indeed, myth is essentially a presentation of a social worldview which, by delineating the customs and ideals of that society, can reveal how the modern world attained its current form. However, Katie Mitchell’s modern-day production so disregarded the mythic meaning of the work, and discounted the characterisation and motivation of the protagonists, focusing instead on mannered, often manic, stage business, that there was no hope that the audience might empathise with those on stage or relate to the unfolding drama.
The photographic seascape front-drop looked promising. It rose to reveal a clinical latter-day conference centre, the cool beiges and slate greys suggesting the best of contemporary Scandinavian design rather than of sultry climes of Mediterranean Crete. A panoramic window offered a glimpse of a cool, aquamarine ocean, but that’s as close as we got to Poseidon’s stormy seas in this production.
Vicki Mortimer and Alex Eales, Mitchell’s frequent collaborators, may have created a crisp, serene set, but it was immediately transformed into a hot-bed of activity, as waiters, bureaucrats and assorted flunkies charged back and forth, to and fro, in an unexplained and unfathomable flurry of activity. Pity poor Sarah Tynan, who as Ilia is charged with responsibility for clarifying the dramatic situation and mythic context in her opening aria, ‘Padre, germani, addio!’; it was almost impossible to concentrate on her music, words or predicament, so distracting was the surrounding maelstrom — despite Tynan’s serene composure, tender lyricism and excellent diction.
This infuriating fussiness, and the intrusion of countless pen-pushers and attendants, continued throughout the first two Acts, undermining the mythic stature of the work. Thus, while Idamante, seated at the distant end of a twenty-foot dining table, proclaimed his love for Ilia and begged her not to condemn him for the actions of his father (‘Non ho colpa’), Ilia gobbled down her dinner as sommeliers bustled about her, topping up her wine. No wonder she didn’t take him seriously. Iadamante fared little better in his endeavours to woo her in Act 2, as smooching couples intruded on their private moment, swaying distractingly to his words of love.
Mozart’s music sharply delineates the four main characters. Ironically, while over-directing her army of extras, Mitchell left the principals pretty much to their own devices, with mixed results. The composer’s verdict on the original Idomeneo and Idamante (the aging Anton Raaff and the soprano-castrato, Vincenzo dal Prato) was that they were, “the most wretched actors ever to walk the stage”; Mitchell did little to help her actors rise above these lowly standards. While Paul Nilon as Idomeneo was imposing and credible, Robert Murray‘s Idamante was a pretty feeble hero, threatening to slip ineffectually into self-pitying alcoholism. In Act 1 Scene 2, seeking solitude at the base of a cliff, to mourn the supposed loss of his father, Idamante sat unmoving on a craggy boulder, solipsistically bewailing his grief and pain, and failed to recognise the returning king even when he was staring him in the face; the general lack of dramatic credulity made the usual suspension of disbelief even more difficult.
Only Emma Bell, as Electra, injected any real dramatic frisson; unfortunately she was played, admittedly with great panache, as an obsessive neurotic, compulsively stalking the hapless Idamante, cocktail glass clutched firmly in hand — think ‘Sex and the City’ meets the Ugly Sisters. Her Act 2 aria, ‘Idol mil’, where she professes her sincere belief that she might win Idamante’s heart once she has removed him from Ilia’s gaze, was beautifully rhapsodic, a lyric moment of illusory happiness evoking real human emotion and pathos. Mozart’s music provides a moment of genuine compassion, fleetingly humanising Electra. But, Mitchell sees things rather differently: Bell’s hopeful, rapturous arcs became orgasmic swoons, as a civil servant indulged her foot fetishism. Electra’s jealousy should inspire fear, dismay and pity; but here Bell simply became a figure of fun, slumping drunkenly on the sofa, fawning across the indifferent men, her avowals of happiness presented as the deluded idiocies of a drunken clown.
Emma Bell as Electra, Paul Nilon as Idomeno, Robert Murray as Idamante and Sarah Tynan as Ilia
The chorus fared little better. For most of the opera they stood stock still, seemingly bemused as to their role in the drama. They were also musically sluggish and leaden in the opening chorus, ‘Godiam la pace’, although they sharpened up considerably as the opera progressed, and there was some admirable singing from those given small solo roles — Claire Mitcher, Lydia Marchione, Michelle Daly, David Newman and Michael Selby. And, there was one neat visual touch, in Act 2, as the vicious storm breaks before the departure of Idamante and Elektra: rushing from the smart cruise boat departure lounge into the VIP area, to escape from the ensuing tempest (‘Corriamo, fuggiamo’), the huddled crowd presented a fitting visual metaphor for the dread which overcomes them.
Despite the nonsense on stage, there was some excellent singing, not least from Paul Nilon. He rose impressively to the challenges of the Act 2 ‘Fuor del mar’, when it dawns on Idomeneo that all of them will be victims of the gods. His coloratura was notable for its stamina and flexibility, both agile and imposing. Sarah Tynan both looked and sang beautifully — costumed in an array of gorgeous gowns by Vicki Mortimer. Particularly striking was her clarity and superb intonation in ‘Se il padre perdei’, as Ilia confesses to Idamante that she now considers Crete a kind of homeland. Emma Bell was fittingly psychological unhinged in ‘D’Oreste, d’Ajace’, while retaining absolute vocal control and displaying great power and projection. In the original version of 1781, Idamante was a castrato role, but Mozart gave a tenor alternative five years later in Vienna when it was being performed by amateurs. Today the role is often taken by a mezzo soprano, and Robert Murray failed to convince that the tenor version is to be preferred, seeming strained and tight at the top of the register.
The minor roles performed consistently. In particular, Adam Green’s Arbace, reporting that the people are demanding that the king deliver them from the monster, presented a touching lament for a Crete that is overwhelmed with sadness in his Act 3 aria ‘Sventurata Sidon!’
Edward Gardner, despite a rather weighty start in the overture, elsewhere sensitively drew out the instrumental nuances of the detailed, at times very virtuosic, orchestral score. There was some exquisite woodwind playing in Act 2, reaching its height in the quartet for flute, oboe, bassoon and which accompanies Ilia’s ‘Se il padre perdei’. Generally, despite the stasis on stage, Gardner paced the drama with increasing assurance; this is an opera with few of the long pauses between arias so characteristic of opera seria, and it was thanks to the conductor’s sure sense of the relationships between scenes and effective handling of the transitions and overlaps between numbers, that some sort of forward dramatic momentum was suggested.
The final act, as the individual protagonists express their private sorrows, did however lose musical momentum. And it made little dramatic sense. Mitchell has dispensed with the Gods and with the sea monster. Thus, there is nothing to cause the death and destruction of which the High Priest of Poseidon reports — making his recitative meaningless. And there is nothing for Idamante to slay, no heroic deed to prompt Ilia to declare her love — only vague waffling about brave deeds. It was hard to believe that this was a man to lead the Cretan nation … better perhaps to have stuck with the original myth’s ending and sacrificed Idamante after all. In the closing moments there was one last flounce from Elektra: horrified by the general rejoicing and the prospect of Idamante seeking pleasure and solace in her rival’s arms, she shrieked, ran from the stage and shot herself in the wings. Few wept, or cared.
The disappointing lack of concordance between dramatic contrivance and musical meaning makes this an unrewarding production, one which cannot fully be redeemed by some fine singing and playing.
Performances continue until July 9th