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.”
“If I lacked ears, it would be bad, but still more bearable; but lacking a nose, a man is devil knows what: not a bird, not a citizen—just take and chuck him out the window!”
A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure, this new production presents the plot as the dying protagonist’s feverish hallucinations. The result is a frosty retelling of what is arguably Puccini’s most hot-blooded opera. Musically, the performance also left much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang bergetar akan terhapus.” (“The transient cannot hold on to stars lost in the Milky Way; that which quivers will be erased.”) As soprano Tony Arnold sang these words of Tony Prabowo’s chamber opera Pastoral, with astonishingly crisp Indonesian diction, the first night of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
Manitoba Underground Opera took audiences on a journey — literally and figuratively — as it presented its latest installment of repertory opera between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
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.
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.