Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Prom 54 - Mozart's Last Year with the Budapest Festival Orchestra

The mysteries and myths surrounding Mozart’s Requiem Mass - left unfinished at his death and completed by his pupil, Franz Xaver Süssmayr - abide, reinvigorated and prolonged by Peter Shaffer’s play Amadeus as directed on film by Miloš Forman. The origins of the work’s commission and composition remain unknown but in our collective cultural and musical consciousness the Requiem has come to assume an autobiographical role: as if Mozart was composing a mass for his own presaged death.

High Voltage Tosca in Cologne

I saw two operas consecutively at Oper Koln. First, the utterly bewildering Lucia di Lammermoor; then Thilo Reinhardt’s thrilling Tosca. His staging was pure operatic joy with some Hitchcockian provocations.

Haitink at the Lucerne Festival

Bernard Haitink’s monumental Bruckner and Mahler performances with the Royal Concertgebouw Orchestra (RCO) got me hooked on classical music. His legendary performance of Bruckner’s Symphony No. 8 in C-minor, where in the Finale loosened plaster fell from the Concertgebouw ceiling, is still recounted in Amsterdam.

BBC Prom 45 - Janáček: The Makropulos Affair

Karita Mattila was born to sing Emilia Marty, the diva around whom revolves Leoš Janáček's The Makropulos Affair (Věc Makropulos). At Prom 45, she shone all the more because she was conducted by Jirí Belohlávek and performed alongside a superb cast from the National Theatre, Prague, probably the finest and most idiomatic exponents of this repertoire.

Two Tales of Offenbach: Opera della Luna at Wilton's Music Hall

‘Two outrageous operas in one crazy evening,’ reads the bill. Hyperbole? Certainly not when the operas are two of Jacques Offenbach’s more off-the-wall bouffoneries and when the company is Opera della Luna whose artistic director, Jeff Clarke, is blessed with the comic imagination and theatrical nous to turn even the most vacuous trivia into a sharp and sassy riotous romp.

Britten Untamed! Glyndebourne: A Midsummer Night's Dream

This performance of Britten's A Midsummer Night's Dream at Glyndebourne was so good that it was the highlight of the whole season, making the term ‘revival’ utterly irrelevant. Jakub Hrůša is always stimulating, but on this occasion, his conducting was so inspired that I found myself closing my eyes in order to concentrate on what he revealed in Britten's quirky but brilliant score. Eyes closed in this famous production by Peter Hall, first seen in 1981?

Salzburg encores

A staged piano recital and an opera as a concert.  Pianist András Schiff accompanied the Salzburg Marionette Theater at the Mozarteum Grosser Saal and Anna Netrebko sang Manon Lescaut at the Grosses Festspielhaus.

Leah Crocetto at Santa Fe

On August 4, 2016, soprano Leah Crocetto and accompanist Tamara Sanikidze gave a recital at the Scottish Rite Center in Santa Fe New Mexico. A winner of the Metropolitan Opera Auditions and the BBC Cardiff Singer of the World Contest, this year Crocetto was singing Donna Anna in Santa Fe Opera’s excellent Don Giovanni.

Angela Meade at Sante Fe

On July 31, 2016, against the ethereal beauty of the main hall in the Scottish Rite Center, soprano Angela Meade and pianist Joe Illick gave a recital offering both opera and art songs ranging in origin from early nineteenth century Europe to mid twentieth century America. Many in the audience probably remembered Meade’s recent excellent portrayal of Norma at Los Angeles Opera.

Turco in Italia in Pesaro

When more is definitely more, and less would indeed be less. Two of the biggest names in Italian theater art collide in an eponymous theater.

Proms Chamber Music 5: Shakespeare at 400

It was the fifth Proms Chamber Music concert at Cadogan Hall this season, and we were celebrating Shakespeare’s 400th. And, given the extent and range of the composers and artists, and the diversity and profundity of the musical achievement inspired by the Bard, we could probably keep celebrating in this fashion ad infinitum.

La donna del lago in Pesaro

Each August the bleak and leaky, 12,000 seat Arena Adriatica (home of the famed Pesaro basketball team) magically transforms itself into an improvised opera house that boasts the ultimate in opera chic — exemplary Rossini production standards for its now twelve hundred seats.

Proms at … Sam Wanamaker Playhouse

This highly enjoyable Prom, part of 2016’s ‘Proms at …’ mini-series, took as its guiding concept the reopening of London’s theatres following the Restoration, focusing in particular upon musical and dramatic responses to Shakespeare. Purcell, rightly, loomed large, with John Blow and Matthew Locke joining him. Receiving their Proms premieres were the excerpts from Timon of Athens and those from Locke’s The Tempest.

Santa Fe: Straussian Sweet Nothings

With all the bombast of the presidential campaigns rattling in our heads, with invectives being exchanged and measured discussion all but absent, how utterly lovely to retreat and relax into the harmonious soundscape and well-reasoned debate posed in Strauss’ Capriccio, on magnificent display at Santa Fe Opera.

Santa Fe’s Civil War Gounod

When we entered the Crosby Theatre for Gounod’s Roméo et Juliette the stage was surprisingly dominated by a somber, semi-circular black mausoleum, many chambers inscribed with scrambled names of US Civil War era dead.

Coolly Elegant Vanessa in the Desert

Molten passions were seething just below the icy Nordic exterior of Santa Fe Opera’s wholly masterful production of Barber’s Vanessa.

Le Comte Ory, Seattle

Farce is probably the most difficult of dramatic comedy sub-genres to put across. A farce got up in the stately robes of opera sets its presenters an even higher bar. Presenting an operatic farce on a notoriously chilly and cavernous auditorium is to risk catastrophe.

Racette’s Golden Girl in New Mexico

Fan interest began raging when Santa Fe Opera engaged venerable artist Patricia Racette to make her role debut as Minnie in Puccini’s La Fanciulla del West.

Santa Fe’s Mozart Cast Sweeps All Before It

A funny thing happened on the way to Andalusia.

Die Liebe der Danae in Salzburg

The tale of a Syrian donkey driver. And, yes, the donkey stole the show! The competition was intense — the Vienna Philharmonic and the Grosses Festspielhaus in full production regalia for starters.

OPERA TODAY ARCHIVES »

Performances

Paul Groves (Hoffmann) and Erin Wall (Giulietta) [Photo by Ken Howard courtesy of Santa Fe Opera]
22 Jul 2010

Hoffmann Takes A Hit In Santa Fe

Despite its length and pretentions to being serious opera, Jacques Offenbach’s The Tales of Hoffmann, dating from the 1880s, remains a leaky vessel adrift on a sea of self-fulfilling prophesies of doom.

Jacques Offenbach: Tales of Hoffmann

Stella / Olympia: Erin Wall; Antonia / Giulietta: Erin Wall; Nicklausse: Kate Lindsey; Voice of Antonia's Mother: Jill Grove; Hoffmann: Paul Groves; Spalanzani: Mark Schowalter; Lindorf / Coppelius: Wayne Tigges; Dr. Miracle / Dapertutto: Wayne Tigges; Andres / Cochenille: David Cangelosi; Frantz / Pittichinaccio: David Cangelosi; Crespel / Luther: Harold Wilson. Conductor: Stephen Lord. Director: Christopher Alden. Scenic Designer: Allen Moyer. Costume Designer: Constance Hoffman. Lighting Designer: Pat Collins.

Above: Paul Groves as Hoffmann and Erin Wall as Giulietta

All photos by Ken Howard courtesy of Santa Fe Opera

 

While gifted with some lovely melodic writing and opportunities for grand operatic singing, the story of a depressed alcoholic poet (“he never drinks water,” one line has it), and his tales of futile amorous adventure often seem over-stuffed with dialogue and redundant action. This opera is expensive and difficult to produce, and in the end bears only a negative message.

Just what Hoffmann’s message is has long been a subject of discussion. My view is that once the pretty surface of melody and musical charm is peeled back, below lies only vegetable cellulose, or nothing much. Some will argue that romantic fantasy is at the core of the piece; others find 19th century existential angst; Richard Wagner condemned it for a lack of “moral” value. I would tend to express it more in terms of the bad psychology of a neurotically disturbed man who through the confusions of alcohol and dissipation dooms his own romantic ambitions. However any of that may be, it is best to take Hoffmann as an exercise in visual pleasure and melodic delight — if there are singers and producers to make it happen, and a producer and music director to give it a light and stylish touch.

_MG_4874.gifErin Wall as Antonia

In Santa Fe Opera’s heavy-handed production, the show turned out to be badly cast and suffocatingly over-produced. None of the singers was adequate to the task at hand; the voices were minor or flawed. The leading tenor, Paul Groves, the key figure in the opera, who looked and played well, seemed to have no upper register and was often short on volume. Professional that he is, Groves soldiered through, but he was far from the real thing, in this most lyrical of big French tenor parts.

Canadian soprano Erin Wall assumed the neigh-impossible task of singing the three major soprano roles the opera requires, the coloratura doll of Act I, Olympia, the lyric soprano of Act II, Antonia and the soprano or mezzo part of the Venetian courtesan, Giulietta, in Act III. She did not have the light agility or highest tones required by Olympia, as Santa Fe’s management must surely have known, and thus it seems a decision was made to turn her Olympia into Gilbert & Sullivan camp — if she did not have the clean runs or pin-point high notes, well mark it up to technical difficulties in her manufacturer Spalanzani’s design. All in good fun? Ho hum. In later acts Wall fared better, and demonstrated a solid top, through high-C, as Antonia though not much tonal allure or play of color; her voice seemed to thicken under pressure, which was much of the time. As an actress Wall was never more than bland.

_MG_4336.gifKate Lindsey as Nicklausse, Wayne Tigges as Councilor Lindorf and Students

The only other singer I will address now is the bass-baritone Wayne Tigges, a last minute replacement for an ailing colleague in the all-consuming and vocally demanding roles of Offenbach’s four villains, who are in every scene, with much to sing, and comprise the engine that drives the thrust of “evil” though the show — that is quite aside from demon rum. Tigges proved a boy sent to do a man’s job, and while earnest and hard-working he did not have the magnetic personality or force or maturity of voice to claim the part. He needs coaching in menace with John Malcovich.

With an inadequate tenor and bass, and soprano who was short on stage charisma and vocal interest, Offenbach’s score was not well-served. I have to say, and am sorry to do so, that Stephen Lord, music director of Opera Theatre of St. Louis, was a cut-and-dried conductor in the pit. While his orchestra played well enough, far too often Maestro Lord’s direction lacked vitality, dragged where it should have sparkled, left dead moments and, in general, lacked shape, flow and accent. Disappointing.

Now we come to Santa Fe’s stage producer, one of the most famous bad-boys of opera, Christopher Alden — who fully lived up to his reputation. I am going to keep this short — who needs a list of horrors? Alden’s direction was everywhere fussy and mannered, secondary characters moved in slow motion, slithered across the stage floor, pranced about their heads in picture frames, joined hands in a merry trio of dancing — and so on, endlessly. In the final moments of Act II, gilded high-style Second Empire opera boxes emerged from stage right holding an audience eager to applaud the diva Antonia, who had expired moments before. Ah so! We were watching a play within a play (who knew?) — and the Second Act, which Offenbach had already provided with an unnecessary anti-climax following Antonia’s death, offered yet another development as Antonia arose from the dead and took her bows. Now, let’s see, where did that plot go?

_MG_5563.gifPaul Groves as Hoffmann, Kate Lindsey as Nicklausse, Wayne Tigges as Captain Dapertutto, Erin Wall as Giulietta, David Cangelosi as Pitichinaccio and Darik Knutsen as Peter Schlémil (standing)

Costumes? Elegant, lavish with Victorian flounces, bustles and ruffles everywhere. Set? Not bad, actually: it all transpired in Luther’s Tavern, a high handsome room with five massive beams across the ceiling, a dark wood dado around the room and white plastered walls that showed off various plaques and hangings. Platforms with minimal trappings for scenes following the Tavern’s opening one (the Kleinsach scene), were brought in and out; they proved effective, and in the Venetian scene featured a massive painting in the style of Turner depicting the grand canal. It worked!

Maybe we will write more about all this later in the season; these things have a way of ripening, and several of the secondary players deserve attention for some were excellent. For now SFO’s Tales of Hoffmann is a game hardly worth the candle.

© 2010 James A. Van Sant/Santa Fe

Click here for a contrary opinion.

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):