13 Jul 2010
Don Giovanni, Alceste, Le Rossignol at the Aix Festival
The Aix Festival was known not so very long ago for pretentious productions. Perhaps now it will become known for good productions.
The cast of supporting roles was especially strong in the company’s new production of Mozart’s matchless masterpiece
The company uncorks its 40th Anniversary season with a visually and musically satisfying production of Johann Strauss Jr.’s farcical operetta
Although performances of Richard Strauss’s last opera Capriccio have increased in recent time, Lyric Opera of Chicago has not experienced the “Konversationsstück für Musik” during the past twenty odd years.
The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission
Houston Grand Opera commissioned Cruzar la Cara de la Luna from composer José “Pepe” Martínez, music director of Mariachi Vargas de Tecalitlán, who wrote the text together with Broadway and opera director Leonard Foglia. The work had its world premier in 2010. Since then, it has traveled to several cities including Paris, Chicago, and San Diego.
“Why should I go to hear Plácido Domingo” someone said when Verdi’s I due Foscari was announced by the Royal Opera House. There are very good reasons for doing so.
Music Theatre Wales presented the world premiere of Philip Glass’s The Trial (Kafka) last night at the Linbury, Royal Opera House. Music Theatre Wales started doing Glass in 1989. Their production of Glass’s In the Penal Colony in 2010 was such a success that Glass conceived The Trial specially for the company.
To say that the English Concert’s performance of Handel’s Alcina at the Barbican on 10 October 2014 was hotly anticipated would be an understatement. Sold out for weeks, the performance capitalised on the draw of its two principals Joyce DiDonato and Alice Coote and generated the sort of buzz which the work did at its premiere.
The subject is regicide, a hot topic during the Italian risorgimento when the Italian peninsula was in the grip of the Hapsburgs, the Bourbons, the House of Savoy and the Pontiff of the Catholic Church.
Lyric Opera of Chicago opened its sixtieth anniversary season with a new production of Mozart’s Don Giovanni directed by Artistic Director of the Goodman Theater, Robert Falls.
It was a little over two years ago that I heard Sir Colin Davis conduct the Berlioz Requiem in St Paul’s Cathedral; it was the last time I heard — or indeed saw — him conduct his beloved and loving London Symphony Orchestra.
Part of their Liberty or Death season along with Rossini’s Mose in Egitto and Bizet’s Carmen, Welsh National Opera performed David Pountney’s new production of Rossini’s Guillaume Tell (seen 4 October 2014).
Welsh National Opera’s production of Rossini’s Mose in Egitto was the second of two Rossini operas (the other is Guillaume Tell) performed in tandem for their autumn tour.
In Monteverdi’s first Venetian opera, Il Ritorno d’Ulisse (1641), Penelope’s patient devotion as she waits for the return of her beloved Ulysses culminates in the triumph of love and faithfulness; in contrast, in L’incoronazione di Poppea it is the eponymous Queen’s lust, passion and ambition that prevail.
After the triumphs of love, the surprises: Les Paladins, under their director Jérôme Correas, and soprano Sandrine Piau are following their tour of material from their 2011 CD, ‘Le Triomphe de L’amour’, with a new amatory arrangement.
At the ENO, Puccini's La fanciulla del West becomes The Girl of the Golden West. Hearing this opera in English instead of Italian has its advantages, While we can still hear the exotic, Italianate Madama Butterfly fantasies in the orchestra, in English, we're closer to the original pot-boiler melodrama. Madama Biutterfly is premier cru: The Girl of the Golden West veers closer, at times, to hokum. The new ENO production gets round the implausibility of the plot by engaging with its natural innocence.
Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.
Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
The Aix Festival was known not so very long ago for pretentious productions. Perhaps now it will become known for good productions.
At least based on the Don Giovanni, Alceste and Rossignol that opened within the first three days of the festival (July 1 - 21).
The logistics of opening three shows within three days are daunting. Both the Giovanni and the Alceste are new productions, alternating performances in the Festival’s signature Archevêché theater. Meanwhile Le Rossignol from Canadian Opera had been installed in the Grand Théâtre de Provence. Later in the month the Stravinsky gives way to Rameau’s Pygmalion arriving direct from the Holland and Athens Festivals. Not to mention yet another theater comes into action within the Festival’s first week — the countryside Grand St. Jean (grand meaning a kind of barn, Jean pronounced john) with a Festival commission, Oscar Strasnoy’s new chamber opera Un Retour El Regresso.
The means of the Aix Festival obviously exceed those of any ordinary opera house with its three theaters and its large number of resident ensembles (the Freiburg Baroque Orchestra, English Voices, orchestra and chorus of the Opéra de Lyon, the William Christie Ensemble, Ensemble Musicatreize plus the Aix Festival’s Académie européenne de musique) and a nearly 20 millions euros budget for its twenty-one day duration!
The cat’s whisker of North American opera these days is Canadian Robert Lepage. While we wait for his massive Ring at the Met we can be entertained by his reasonably modest production of Stravinsky’s Le Rossignol put together with a potpourri of other Stravinsky fables. Though how modest can it be to banish the orchestra to the stage by filling the pit with water (making the pit a lake, river or swimming pool is hardly a new idea, but to this point it has been metaphor rather than fact).
Nor is the Stravinsky orchestra modest. Rossignol stands with Firebird, Petruska and Rite of Spring as the Stravinsky theater works for very large orchestra (triple winds with extensive doubles plus much additional percussion, double harp). Rossignol is trapped by its too simple story and its simplistic moralism within Stravinsky’s burgeoning musical and orchestral language that simultaneously with this pale fable bursts into the primal motives and rhythms of the ballets. But in Rossignol this expanding language is relegated to portraying an exoticism of locale and nature subordinated to the tedious procedures of ritualistic storytelling.
Trapped onstage without an acoustic shell and hidden behind the seated chorus the Opera de Lyon orchestra provided a beautiful if muted account of Stravinsky’s colorful score, carefully driven by conductor Kazushi Ono. The Rossignol was Olga Peretyatko, a veteran of the original Toronto production. Aggressively sung to be sure, this nightingale’s Rossini bravura matched the aggressive orientalisme and puppetry insisted upon by the Lepage production. The spectacle style staging though succeeded only sporadically in alleviating the inherent boredom of the score.
Scene from Don Giovanni
Waste deep in the pit lake Lithuanian tenor Edgaras Montvidas gave a brilliant performance as the fisherman while deftly operating his puppet double, well seconded by his other semi-submerged Russian speaking colleagues, notably the Chinese emperor of Ilya Bannik. The singing was intensely lyrical in its Russianness, implacably spurned on by Maestro Ono.
You can’t make a silk purse out of a sow’s ear, though this was an amusing if exaggerated attempt.
Much more successful were the other simple fables for ensemble voices and various combinations of instruments in smaller ensembles. These pieces not even meant to be staged were delightfully performed by broadly smiling peasant Russians. The tales were enacted by black and white shadow puppetry in various techniques with Cirque de Soleil virtuosity. The juxtaposition of Stravinsky’s early strident minimalism with the more abstract forms of puppetry was perfection.
Christoph Gluck’s opera Alceste was staged by the witty German director Christof Loy who chose to tease the audience by magnifying the severity of Gluck’s reform style. Adding to the austerity of the evening Mr. Loy allowed us no break between Acts I and II thus we sat two long hours before regrouping (most of us) to witness Alceste’s reprieve from death only to learn that we all are going to die anyway.
Mr. Loy reduced Euripides tragedy from its larger political terms to a purely family tragedy (the untimely death of a father). Euripides’ Thessalians became modern children holding toys. A black suited, clerically collared priest to Apollo physically abused one of these children (arousing an angry protest from someone in the audience on July 6). Jupiter was an expansive uncle who came to visit.
Yes, there was dance. The chorus of children moved to carefully designed stage positions during the dance interludes. The set was a white room, its side wall a huge window, its angled back wall broken by a small proscenium type opening that usually revealed mom and dad’s bedroom (this was a carefully created child’s world).
Yes, there was spectacle -- this opening became an attic where mementos of past lives are cast off and forgotten, like Hades, the netherworld. This vision became alive as these colorful spirits of the past flowed out onto the stage to taunt Admete and Alceste. The finale of the opera was in fact quite magnificent spectacle — the doors of this stage within a stage opened on an absolute black void. Nothing. It was a vast vision of death, a concept and a reality. Huge. Everyone wound up entering.
Alceste was Mr. Loy’s metaphor of human destiny that even children understand.
Gluck’s reform operas give the chorus and orchestra huge dramatic responsibilities. Mr. Loy’s staging exacerbated these responsibilities, and miraculously they were met by English Voices, a chorus of 32 young singers who sang with magnificent Baroque gusto and seemed quite at home acting like six-year-olds, and by the Freiburg Baroque Orchestra conducted by Ivor Bolton. Mo. Bolton elicited bold sounds from this prestigious group, its bassoons and double basses especially called upon to instill shock and awe.
Alas, just knowing Maria Callas sang Alceste places any other soprano who attempts the role in impossible competition. The Aix Festival entrusted the role to French early music soprano Veronique Gens who exuded artistry far more than passion. Canadian tenor Joseph Kaiser in fact melded his artistry into powerful Gluckian humanity, notable indeed when he reacted to Alceste’s sacrificial intentions to save his life.
Scene from Le Rossignol (The Nightingale)
This Alceste was close to musical perfection with careful period performances by principal singers, chorus and orchestra. The production now moves on to Royal Danish Opera and the Vienna State Opera where perhaps it will lose some of this carefulness and hopefully attain a dramatic reality unfettered by performance practice.
Russian stage director Dimitri Tcherniakov knows we all know Don Giovanni pretty well, maybe too well. The Aix Festival knows its audience loves Mozart and so there is always plenty of it (there are 10 performances of this Giovanni). One of the recent Giovanni ‘s served up in Aix was by British director Peter Brooks who experimented with Mozart’s masterpiece by turning its singers loose on stage to figure it out for themselves -- it is not hard to imagine how successful that was.
Mr. Tcherniakov did not even try to figure it out. In fact he did everything he could to confuse the opera’s issues. First he informed us that Giovanni and Elvira are married and that Zerlina is Donna Anna’s daughter. Leperello is some relative who happens to be in the Commedatore’s house, and Masetto and Don Ottavio are various fiances who end up kissing each other.
Not that he re-wrote the script. It was still the same old familiar words, never mind that it made no sense. Though a curtain crashed onto a silent stage from time to time to inform us of a quite precise but totally arbitrary time line (un jour plus tard, trois jour plus tard, deux mois plus tard, etc.).
Mr. Tcherniakov ignored the mysteries of the Don Juan complex by making the Don Giovanni a drunken bum no one could possibly love. The mystery therefore was why the three women in the story love him. Not that much was explained except that Donna Anna loves sex and was not getting much of it from Don Ottavio, Zerlina was obsessed by sex and was not getting much of it from Masetto. Elvira was cold and did not seem to want much sex.
Thus, and this is maybe Mr. Tcherniakov’s point (if there could possibly have been one), we might hear Mozart’s Don Giovanni for the first time! That, maybe, we did indeed.
French conductor Louis Langrée took on the resources of the Freiburg Baroque Orchestra to magnificent result. Right-on tempi, certainly on the fast side, that took advantage of the agility of the early instruments, with the raspy sound of these more primitive versions of modern instruments used to implement attack and immediacy. These unfamiliar sounds made this familiar score come brilliantly alive. It was new music.
Plus Mozart’s score was accorded extraordinary relief with Mr. Tcherniakov’s play with silence. The curtain rose before the overture, and fell well before the overture was completed forcing our attention again onto sound. Action within the unit set (a room in the Commendatore’s comfortable haute bourgeoise house) was interrupted between numbers by the crashing curtain and minutes of silence. Each time begun again the music gained vibrancy.
Of many momentous moments several stand out. The Don’s, Danish baritone Bo Skovhus, serenade was a drunken reverie moving in his aloneness; Slutty Donna Anna’s, German soprano Marlis Petersen, account of her rape was her rape of Don Ottavio; Zerlina, Swedish soprano Kerstin Avemo, turned her Batti, batti into a sex fantasy with the Don (accompanied by a weird cello obligato); Elvira, Latvian soprano Kristine Opolais, was leaden of aspect when passed by the Don to the very physical Leporello of American bass-baritone Kyle Ketelsen; Don Ottavio, Canadian tenor Colin Balzer, kissed Masetto, Serbian/Israeli David Bizic.
You get the idea. The Aix Festival scoured the earth to get just the right people to upset Mozart with quite brilliant performances of his own music.
Well, bravo Aix, bravissimo! The trip has been worthwhile. So far.