Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Il barbiere di Siviglia in Pesaro

Both by default and by merit Il barbiere di Siviglia is the hit of the thirty-fifth Rossini Opera Festival. But did anyone really want, and did the world really need yet another production of this old warhorse?

Armida in Pesaro

Armida (1817) is the third of Rossini’s nine operas for the Teatro San Carlo in Naples, all serious. The first was Elisabetta, regina di Inghilterra (1815), the second was Otello (1816), the last was Zelmira (1822).

Santa Fe Opera Presents an Imaginative Carmen

Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.

Elgar Sea Pictures : Alice Coote, Mark Elder Prom 31

Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.

Berio Sinfonia, Shostakovich, BBC Proms

Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.

Four countertenors : Handel Rinaldo Glyndebourne

Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.

Santa Fe Opera Presents The Impresario and Le Rossignol

On August 7, 2014, the Santa Fe Opera presented a double bill of Wolfgang Amadeus Mozart’s The Impresario and Igor Stravinsky’s Le Rossignol (The Nightingale). The Impresario deals with the casting of an opera and Le Rossignol tells the well-known fairy tale about the plain gray bird with an exquisite song.

Barber in the Beehive State

Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.

Stravinsky : Oedipus Rex, BBC Proms

In typical Proms fashion, BBC Prom 28 saw Stravinsky's Oedipus Rex performed in an eclectic programme which started with Beethoven's Egmont Overture and also featured Electric Preludes by the contemporary Australian composer Brett Dean. Sakari Oramo,was making the first of his Proms appearances this year, conducting the BBC Symphony Orchestra, BBC Singers and BBC Symphony Chorus.

Santa Fe Opera Presents a Passionate Fidelio

Santa Fe Opera presented Beethoven’s Fidelio for the first time in 2014. Since the sides of the opera house are open, the audience watched the sun redden the low hanging clouds and set below the Sangre de Cristo mountains while Chief Conductor Harry Bicket led the Santa Fe Opera Orchestra in the rousing overture. At the same time, Alex Penda as the title character readied herself for the ordeal to come as she endeavored to rescue her unjustly imprisoned husband.

Die Entführung aus dem Serail @ Hangar-7

We see the characters first in two boxes at an opera house. The five singers share a box and stare at the stage. But Konstanze’s eye is caught by a man in a box opposite: Bassa Selim (actor Tobias Moretti), who stares steadily at her and broods in voiceover at having lost her, his inspiration.

Rameau Grand Motets, BBC Proms

Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17.

Adriana Lecouvreur, Opera Holland Park

Twelve years after Opera Holland Park's first production of Francesco Cilea’s Adriana Lecouvreur, the opera made a welcome return.

Back to the Beginnings: Monteverdi’s Il ritorno d’Ulisse in patria at Iford Opera.

The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre.

Schoenberg : Moses und Aron, Welsh National Opera, London

Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission.

Count Ory, Dead Man Walking
and La traviata in Des Moines

If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.

Janáček’s Glagolitic Mass, BBC Proms

Composed during just a few weeks of the summer of 1926, Janáček’s Slavonic-text Glagolitic Mass was first performed in Brno in December 1927.

Donizetti and Mozart, Jette Parker Young Artists Royal Opera House, London

With the conclusion of the ROH 2013-14 season on Saturday evening - John Copley’s 40-year old production of La Bohème bringing down the summer curtain - the sun pouring through the gleaming windows of the Floral Hall was a welcome invitation to enjoy a final treat. The Jette Parker Young Artists Summer Showcase offered singers whom we have admired in minor and supporting roles during the past year the opportunity to step into the spotlight.

Glyndebourne's Strauss Der Rosenkavalier, BBC Proms

Many words have already been spent - not all of them on musical matters - on Richard Jones’s Glyndebourne production of Der Rosenkavalier, which last night was transported to the Royal Albert Hall. This was the first time at the Proms that Richard Strauss’s most popular opera had been heard in its entirety and, despite losing two of its principals in transit from Sussex to SW1, this semi-staged performance offered little to fault and much to admire.

First Night of the BBC Proms : Elgar The Kingdom

The BBC Proms 2014 season began with Sir Edward Elgars The Kingdom (1903-6). It was a good start to the season,which commemorates the start of the First World War. From that perspective Sir Andrew Davis's The Kingdom moved me deeply.

OPERA TODAY ARCHIVES »

Reviews

Marlis Petersen as Lulu [Photo by Ken Howard courtesy of Metropolitan Opera]
05 Jun 2010

Lulu, New York

Alban Berg died in 1935, but his music was generations ahead of his time – as one could not help but conclude during the recent revival of Lulu at the Met whenever the vibraphone played “doorbell” music, reminding us of the intrusion of cell phones into theaters.

Alban Berg: Lulu

Lulu: Marlis Petersen; Countess Geschwitz: Anne Sofie von Otter; Alwa: Gary Lehman; Dr. Schön/Jack the Ripper: James Morris; The Painter: Michael Schade; The Acrobat: Bradley Garvin; Schigolch: Gwynne Howell; Wardrobe Mistress/Schoolboy/Page: Ginger Costa-Jackson; The Prince/The Manservant/The Marquis: Graham Clark. Metropolitan Opera, conducted by Fabio Luisi. Performance of May 12.

Above: Marlis Petersen as Lulu

All photos by Ken Howard courtesy of Metropolitan Opera

 

This came home painfully five minutes before the performance ended, at the tense moment when the humiliated Lulu entreats her latest client, a black-bag-toting Englishman named Jack, into her bedroom. Somebody’s watch began to beep and kept on beeping. Happily, the music at this point is pretty loud, depicting what Jack is doing to Lulu just off stage, and Fabio Luisi let it out and drowned the beeping.

Nothing given at the Met this not-very-triumphant year (with the possible exceptions of The Nose, From the House of the Dead and Ariadne auf Naxos) has been of the across-the-board excellence, brilliantly sung, flawlessly acted, sublimely played, appropriately staged, of this Lulu. This fact brings to mind questions: Why does Lulu – seldom a crowd-pleaser (though the house was packed for the performance I attended, all enthusiastic) – merit this level of care from the Met while such more traditional fare as Aida or Turandot or Der Fliegende Holländer or Tosca are allowed to sink or swim, survive on lingering reputation, the staging haphazard, the singing mediocre? Is it because Lulu, being notoriously difficult, gets extra attention? Is it because the Met cannot find anyone capable of singing Aida or Radames or Turandot, but can easily come up with Lulu and Dr. Schön? It’s difficult to believe a Lulu of the caliber of Marlis Petersen is to be found on every street corner of the opera world, and if she has been located and lured to the Met, why has there been hardly a decent Aida in decades? The production is there, and Great Isis knows the audience is there, eager to hear it.

Otter_Lulu.gifAnne Sofie von Otter as Countess Geschwitz

Well, enough about Aida: this was a Lulu to remember. John Dexter’s handsome thirty-year-old Jugendstil production, with its Austro-Hungarian curlicues, its air of Klimt-Schiele decadence, is still handsome enough to satisfy. The direction was largely appropriate, though characters occasionally sing of going out of doors when in fact they are climbing the staircase to an upper floor. Lulu behaved as if on a different wavelength from that of the men – and women – obsessed with her, and that is as it should be: she is their idol, their destroyer, their plaything, their posession. No one ever sees her as human, including Lulu herself, and when she does show signs of humanity, it’s far too late.

In a cast giving exceptional performances across the board, even in such minuscule roles as the pimp who tries to blackmail Lulu into entering a brothel in Cairo in Act III – Graham Clark, sinister and funny, as he was also as Lulu’s butler in Act II – and the pageboy who obligingly changes clothes with Lulu, allowing her to escape the pimp – Ginger Costa-Jackson, who manages the trick of looking and moving like a boy uncomfortably in drag – the star of the evening, besides Marlis Petersen’s Lulu, was Fabio Luisi, recently announced as the Met’s visiting music director, who once again demonstrated that his control, his musicianship, his dramatic flair rank every him every way as worthy as James Levine. This was a taut, elegant, alive performance. There was time to notice such witty details as the concertato in the final scene of Act I – when the various men in Lulu’s life savage each other vocally in an atonal parody of a bel canto sextet, while Lulu, the only treble voice on stage, seems to pay no attention to them.

Petersen, the vocal star of the Met’s Hamlet this spring, wherein she sang the most old-fashioned of suicidal mad scenes in a luscious, gratifying manner, might almost be another singer when she sings Lulu. Mind you, the part could hardly be farther from bel canto Ophélie – it is all Sprechstimme, high-flying taunting, snarling, giggling, dreaming phrases pointed here and there on the scale, all of them produced with dramatic intent. Lulu, the child of nature, is no sensualist like Carmen or Musetta: she likes the physicality of sex. She does not develop a soul, a self, until she becomes desperate in Act III, having lost her money, her husbands, her position, almost her freedom. The transformation in Peteren’s vocal delivery in this act was matched by her movements; her entire figure seemed that of another woman, yearning no longer for sex but for death – the equal and opposite urge, as Freud might have suggested to Berg, his contemporary.

LULU_Act_I_0654.gifA scene from Act I with James Courtney as the Theater Manager, James Morris as Dr. Schön, Marlis Petersen in the title role, Gary Lehman as Alwa, Graham Clark as the Prince, and Ginger Costa-Jackson as Wardrobe Mistress

James Morris seemed on the ropes when he sang Claudius in Hamlet, his voice dry and tending towards wobble. As Dr. Schön, Lulu’s most possessive possessor, he sang with authority and irony. Each syllable was acted, and each sung note had a degree of menace and self-loathing. A very classy act. Anne-Sofie von Otter, whom I have found dull in more conventional parts, sang a most affecting Countess Geschwitz. Gary Lehman was stocky but sympathetic as Alwa Schön. Bradley Garvin brought particular menace not only to his movements but to each phrase of his vigorous baritone as the Acrobat. It was a cast without a flaw, a Lulu to remember forever, the new standard.

John Yohalem

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):