18 Jul 2010
Star Power in Zürich’s Rosenkavalier
The annual Zürcher Festspiel banked on a heavy hitter to generate excitement for its revival of Der Rosenkavalier.
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.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.
On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman theatre of Aspendos near Antalya in southern Turkey is not an arena or amphitheatre at all, so there are not nearly as many ghosts of gored gladiators or dismembered Christians to disturb the contemporary feng shui as in other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014 by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings
On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!
The annual Zürcher Festspiel banked on a heavy hitter to generate excitement for its revival of Der Rosenkavalier.
Their faith was certainly well placed in Renée Fleming who contributed a memorable, glamorous star turn as the Marschallin. Ms. Fleming is one of the world’s most celebrated divas to be sure, and happily for all of us, one of the most recorded. With her vocal gifts so well documented (and reported), it risks cliche to refer once more to the uncommonly beautiful sheen of her timbre, the melting tone she produces throughout the range, the savvy musical instincts she brings to the score, the heft and fire power that she wields in well-calculated moderation, and the easy stage presence she commands. This is arguably one of Renée’s finest roles, and over various productions she has fine-tuned it to a fare-thee-well.
The Marschallin is a part that can negatively invite precious introspection, over-interpretation, mewing and cooing, self-victimization. Not for me the Lieder singer approach, coaxing each utterance out of some buried corner of the psyche, handling each tortured syllable like it might break, shifting moods and colors with each punctuation, by turns pleasantly audible and then. . .(not). . .blending into the orchestral (fabric). . .
On occasion in other roles, Ms. Fleming has been accused (unjustly or not) of somewhat that kind of interpretive over-reaching. Not so with her definitive Marschallin. She just sings the damn thing as exquisitely as you will ever hear. Her great monologue is magnificently realized, being supremely touching without being maudlin, winning without whining, self-examining without wallowing. In short, it was a perfectly judged portrayal by a great artist in total command of her justifiably acclaimed vocal resources. While her top voice is especially celebrated (and was thrilling in the trio), I also think her use of chest and lower middle registers has ripened and mellowed over the years to a very fine estate. And Ms. Fleming is just the right age and look for the role, seeming to grow more beautiful with each year, sleek and fabulously gowned, with a face that could launch a thousand Rolex sales. The Swiss public rewarded her with a chorus of ringing cheers.
As Octavian, Michelle Breedt sports a ringing top voice and an awesome technique. She is especially proficient at hitting a rock solid high note and then scaling it back to wondrous effect. Ms. Breedt’s lower voice gets a bit diffuse, however, and in a number of the chatty dialogue phrases, I found her hard to understand. And it has to be said that in Act I’s loosely fitted boudoir attire, she did come off as looking like a handsome middle-aged woman, rather than the strapping young man that was preferred. Ah well, suspension of disbelief is de rigeur for opera lovers, so what the hell? Her dramatic performance was detailed, enthusiastic, and focused. Eva Liebau’s perky Sophie was very winning, and her silvery, light soprano stood in good contrast to Mmes Breedt and Fleming. When Ms. Liebau pressed the voice for volume in the upper reaches, there was a tendency to go sharp and a bit edgy, but overall she acquitted herself with a fine interpretation.
Baron Ochs is always a tough sell, having to be blunt and boorish without completely turning the audience off along with Sophie. Alfred Muff draws on his ample experience with the part to pretty much pull off that balancing act. His bass voice is dark and imposing, and has a good bite in the tone that rides the orchestra with ease. He also relishes the role’s lower extremes and luxuriates in the long held tones that Strauss gave him. While he can certainly boom out the high notes, here the tone gets rather straight and dry, losing the resonance of his natural core. Muff’s bearing is more aristocratic than some who essay this role and he admirably controls the temptation to descend too far into the flummoxing lummox ham-bone mode.
Martin Gantner was an exceptionally fine Faninal never once blustering his outbursts, rather singing them securely with burnished tone. Liuba Chuchrova’s Marianne was too often hindered by placement too far upstage, and her excitable exclamations fought a bit stridently to be heard. Not so Wiebke Lehmkuhl, who put her plummy voice at the disposal of an animated and winning traversal as Annina. Rudolf Schasching was secure and polished in the less grateful role of Valzacchi. The minor roles were cast from strength with accomplished artists on the roster. Tomasz Slawinski and Volker Vogel merit special mention for their successful turns as the Notary and Innkeeper, respectively. Boiko Zvetanov nailed all the notes as the Italian Singer, with ‘nailed’ being the operative word. We can hear you, Boiko! Were the volume knob turned down a bit, Mr. Svetanov’s solid, steely tenor might make an even better impression.
I so admire the house orchestra and conductor Peter Schneider that I wish I could report more delight in their music-making. Perhaps because of the extreme heat wave that had been going on, the instrumental playing too often seemed earth-bound, languid. This greatly benefited the lush string passages which oozed like rich creme fraiche, but the heady exuberance Strauss calls for was too little in evidence. Too, Maestro Schneider did not always seem to be considerate of his singers with the massed orchestral forces allowed to challenge the soloists at best, overwhelm them at worst. On this occasion at least I did not find this fine band as well-calibrated or as joyous as is their usual standard.
The singers were also not always helped by Sven-Eric Bechtolf’s elusive, quirky direction within Rolf Glittenberg’s handsome but puzzling sets. Both Act I and III are conducted in a playing space defined by a semi-circle of light gray walls extending from down right to up left with floor to ceiling windows and slatted shutters. An ill-defined entrance point is up left and a solid wall with a fireplace opening forms stage left. It is adorned with mounted birds (ceramic? stuffed?) on little shelves. Curiously there are three denuded trees standing in this space. For the bedroom, a writing table with two chairs was draped in white down right, a matching chair was between the trees down left, and a few pillows and a comforter (white, of course) were the ‘bed’ on the floor. For Act III, a tent is erected by skeleton-costumed extras as the private dining room. The fireplace is oddly used as an entrance/exit and characters stoop over and use it as such with no explanation, the first being a ‘huh?’ moment as Octavian rushes out of the boudoir to disguise himself as a girl.
While I can’t say I understood this environment, I didn’t find it off-putting. Act II, however, while structurally realistic and pleasing enough, was set in Faninal’s basement kitchen. Beautiful cabinets with china displayed filled the upper wall, and a realistic window revealed people outside on the street above. The same gray walls (they must have gotten a discount on the paint) sided the 6 large work tables, and a big cupboard filled stage left.
Is there a less elegant place you would ‘receive’ an official visitor than in a kitchen filled with working servants? The toilet, perhaps? And what was that stuff the ladies were putting through the meat grinders? It looked like blue Play-Doh. To continue the bird motif, dead feathered fowl were strung up overhead. Given these odd design choices, there is much that was good about Mr. Bechtolf’s staging, most of all the character relationships he developed with his principals.
That said, however, there was an odd, cool cast to the beginning of this opera that should start in the after-glow of really hot sex. With the thick reading of the prelude, the curtain rose to reveal strange, guarded interactions for about the first half of the Act. It was as though the soloists had one eye on the conductor and the other on their Festival fee. Or maybe they were thinking how hot it was and this thing was going to be four and a half hours long. Everyone was behaving very professionally and singing very well and executing the well-considered staging very conscientiously but it was not until Ms. Fleming launched into her superb account of the monologue that a real dramatic fire took over. From then onwards Rosenkavalier pulsed with real theatrical life. It must be said that the director utilized the stage space with great variety of movement, and he created intimate moments of specificity and occasionally, revelation.
He also misfired a few times, like with the presentation of the rose. I had thought that was a no-fail-moment but here Sophie runs up a couple of steps and then hides in the stage left cupboard. Yes, hides. Octavian’s clumsy entrance was covered by the servants, then he can’t find Sophie and is directed to the hiding place. She cracks open the door, and one of the most sublime moments in lyric theatre is reduced to a game of pass-the-rose, with the two people who should be falling in love at first sight not even in sight of each other. Does this even sound like it could be viable? Dude, Strauss has done all the work for you! Those glorious off stage cries of Rofrano, Rofrano, the orchestral build-up, the unbearable tension under that deceptively serene music. Just stay out of the way and it works!
However, Bechtolf does make amends when they later start giggling and cooing with real spontaneity and strike some comic and romantic sparks. And he did get the three ladies (okay, one is supposed to be a guy) to be the smoochiest bunch of Straussians I have ever seen, verging on a veritable L-Word episode. The Inn Scene was quite inventive indeed, although I am not sure I liked the SNL insect costumes as well as I did the tricorn-hatted skeletons. But they were fanciful and in fact all of the luxurious period attire was well-designed by Marianne Glittenberg. The entrance of the Marschallin at opera’s end was rather perfunctory, but then the set-up to the trio that had preceded it was a beautifully realized piece of staging with the simplest of re-groupings proving highly effective. Jürgen Hoffmann’s competent lighting was at times more than that, such as the lovely back-lit effect at the end of I, when the shutters were closed one by one to black out the backdrop as the music wanes, a perfect pairing of musical and lighting effects.
At the end of the night this Der Rosenkavalier was a bit more basic Bauernbrot than succulent Sacher Torte, but as served up by one of today’s most sought after divas in tandem with a talented group of colleagues, its many staging inventions were more often than not freshly, surprisingly engaging.