07 Jun 2010
La Damnation de Faust in Modern Guise at Lyric Opera of Chicago
During its recently concluded season Lyric Opera of Chicago presented two musical pieces based on the theme of “Faust.”
Ermonela Jaho is fast becoming a favourite of Covent Garden audiences, following her acclaimed appearances in the House as Mimì, Manon and Suor Angelica, and on the evidence of this terrific performance as Puccini’s Japanese ingénue, Cio-Cio-San, it’s easy to understand why. Taking the title role in the first of two casts for this fifth revival of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, Jaho was every inch the love-sick 15-year-old: innocent, fresh, vulnerable, her hope unfaltering, her heart unwavering.
Calliope Tsoupaki’s latest opera, Fortress Europe, premiered as spring began taming the winter storms in the Mediterranean.
To celebrate its 40th anniversary New Sussex Opera has set itself the challenge of bringing together the six scenes - sometimes described as six discrete ‘tone poems’ - which form Delius’s A Village Romeo and Juliet into a coherent musico-dramatic narrative.
Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of Leoš Janàček’s 1921 domestic tragedy, and not entirely in a good way.
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
During its recently concluded season Lyric Opera of Chicago presented two musical pieces based on the theme of “Faust.”
In the more familiar staged version by Charles Gounod Lyric Opera scored a resounding triumph in the fall with several notable role debuts. Now La Damnation de Faust by Hector Berlioz has entered the roster of Lyric Opera’s staged works and can also count as a musically fulfilling venture. The four soloists in this production rank among the foremost interpreters today of the music of Berlioz and of this dramatic work. Paul Groves sang the role of Faust in an interpretation which met all the challenges of the score and also left an individual stamp on his character’s portrayal. His tempter and nemesis Méphistophélès provided the bass baritone John Relyea with considerable opportunities for acting and vocalism. In this role Mr. Relyea was making his Chicago Lyric debut this season. Susan Graham performed the role of Marguerite with memorable artistic commitment, her singing reinforcing the reputation she enjoys for the music of Berlioz. Christian Van Horn sang the role of Brander in a convincing portrayal by which the text matches ideally his movements and gestures. Sir Andrew Davis conducted a fluid and well-rehearsed Lyric Opera Orchestra in a performance expressing the vital nuances of the score.
Soon after the curtain rises in this new production, the figure of Faust appears caught inside a box-like elevated space at the center of the stage. Mr. Groves wore modern, semi-formal dress, and he sat positioned in front of a computer. A cell phone was intermittently visible in the tenor’s hand. The stage as depicted is an effective externalization of the lead character’s feelings of despair and isolation. The walls of the boxed space seem to cause his frustration to grow, just as Groves paced repeatedly to indicate a nervous relation to sounds and emotions from the outside. This staging was, however, less effective in suggesting Faust’s physical journey from the plains of Hungary in the first part of the score to his workroom and surroundings in northern Germany in the second part. Again the viewer was prompted to visualize such a physical transfer and symbolic movement from the projected text. Before that shift in scene a lush orchestral interlude, here richly played, emphasized the spirit of life circulating in the world outside of Faust’s surroundings. Groves seemed to be praying at his computer in order to arrive at some answer to his dilemma of isolation. At this point the chorus emerged from various doors and passageways located below the suspended box. Also here in dress suggestive of a post-World War II decade the chorus sings variously of pleasures and freedom from care. The assemblage in civilian garb then gave way to a group of soldiers bent on recruiting new forces, all preparatory to the stirring Hungarian March. This part was effectively staged as nearly a ballet for the soldiers while Davis kept taut control over the superb playing from the orchestra.
Susan Graham as Marguerite [Photo by Dan Rest courtesy of Lyric Opera of Chicago]
At the opening of the second part it is clear that Faust’s travels have not solved his feelings of “ennui.” His opening soliloquy was movingly intoned by Groves with memorable intonation on “je souffre” [“I suffer”] and “la nuit sans étoiles” [“the night without stars”]. Only the entrance of the chorus singing an Easter hymn prevents Faust from consuming poison. The innovative staging at this point focused attention on a large standing crucifix shining with yellow light, while soldiers now intermingled as they removed flags from coffins lined up symmetrically on either side of the stage. The surging tones of the chorus showed Faust sensing renewal and a readiness to live, emphasized by Groves with lyrically convincing high notes pronounced at “O mon âme tremblante!” [“O my fluttering soul!”]. Ironically it is at this point that Méphistophélès enters. Mr. Relyea, who emerged as one from the chorus, removed the collar of a priest from his costume and declared his presence as the spirit of life. He offers to entertain Faust and to fulfill all his desires. Once Faust accepted, the atmosphere of Auerbach’s Keller was rendered as a transformation of the preceding: the coffins on stage opened, girls emerged to treat the crucifix as a pole for dancing, and a cabaret-like setting lifted Faust from his torpor. Relyea performs the role of Méphistophélès as a suave, understated tempter who leads others to the responsibility of their own downfall. By contrast, Christian Van Horn sang the role of Brander in the tavern with gusto and fully committed gestures. Faust is at first attracted yet then repulsed by these lurid displays of the tempter’s vision of life. From this point to the close of the second part Faust now coasts toward inevitable infatuation. He is lulled to sleep in a bed of roses, in the midst of which he sees a vision of Marguerite in his dream. In this production Marguerite appears in her bedroom caught in the same box-like structure which earlier housed Faust. She seems to sleep fitfully, as though plagued by thoughts beyond her control. As he awakens from the dream Groves calls out the name Marguerite with exquisite sustained top notes. He concedes to the suggestion of Méphistophélès that they should approach the girl’s house as part of a crowd of students. As the act ends Faust appears at Marguerite’s bed holding a bouquet of roses from his dream.
During the third and fourth parts the passionate attraction between Faust and Marguerite reaches its resolution and destructive consequences. At first Faust appears alone in her room and luxuriates in the aura of her accustomed surroundings. When Marguerite begins to speak, she elaborates on her equivalent dream and her vision of the beloved whom she has yet to meet. In the following scene the well-known ballad “Autrefois un roi de Thulé´[“Once a king of Thule”] gives expression to her sentiments of melancholy longing. Susan Graham, poised on a balcony outside her stuffy room and holding a lit cigarette, sang the ballad with touching ardor, the arching phrases matching the movements of the goblet as the King of Thule cast it into the sea. After this moving expression of her character, Méphistophélès called upon the service of various spirits in order to lure Marguerite into Faust’s presence. Their duet of recognition led to a convincing declaration in which both principals sang excitedly of their “ivresse” [“passion”]. The short-lived union is brought to its close by Méphistophélès who warns that the neighbors are calling to Marguerite’s mother that “un gallant est dans ta maison” [“a gallant is in your house”].
Paul Groves as Faust [Photo by Robert Kusel courtesy of Lyric Opera of Chicago]
In the fourth part Marguerite sings plaintively of her love granted and her current loneliness in the romance “D’amour l’ardente flame” [“The burning flame of love”]. Ms. Graham sang the piece with the conviction of one who has granted her entire being in love and is now left with only the memory. In this production she was now shown serving multiple cups of tea to her mother by which she hoped to administer a sleeping potion. Soon afterward Marguerite was led away by armed police when her mother’s lifeless body was discovered. It is at this point that Méphistophélès reminds Faust of his beloved. When Faust learns of Marguerite’s fate he agrees to sign the document by which he will serve the demonic force in order to save her. On two black steeds, as here simulated, Méphistophélès and Faust pursue the Ride to the Abyss as the soul of Faust is claimed in the eternal depths. The final scene unites Marguerite with the lighted crucifix, transformed again from earlier in this production, as she ascends the stairs in God’s forgiveness.