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

Nabucco in Novi Sad

After the horrors of Jagoš Marković’s production of Le Nozze di Figaro in Belgrade, I was apprehensive lest Nabucco in Serbia’s second city of Novi Sad on 27th October would be transplanted from 6th century BC Babylon to post-Saddam Hussein Tikrit or some bombed-out kibbutz in Beersheba.

La Bohème in San Francisco

First Toronto, then Houston and now San Francisco, the third stop of a new production of Puccini's La bohème by Canadian born, British nurtured theater director John Caird.

Radvanovsky Sings Recital in Los Angeles

Every once in a while Los Angeles Opera presents an important recital in the three thousand seat Dorothy Chandler Pavilion.

L’elisir d’amore, Royal Opera

This third revival of Laurent Pelly’s production of Donizetti’s L’elisir d’amore needed a bit of a pep up to get moving but once it had been given a shot of ‘medicinal’ tincture things spiced up nicely.

Samling Showcase, Wigmore Hall

Founded in 1996, Samling describes itself as a charity which ‘inspires musical excellence in young people’.

La cenerentola in San Francisco

The good news is that you don’t have to go all the way to Pesaro for great Rossini.

Rameau: Maître à danser — William Christie, Barbican London

Maître à danser: William Christie and Les Arts Florissants at the Barbican, London, presented a defining moment in Rameau performance practice, choreographed with a team of dancers.

Le Nozze di Figaro — or Sex on the Beach?

The most memorable thing (and definitely not in a good way) about this performance of Le Nozze di Figaro at the Serbian National Theatre in Belgrade was the self-serving, infantile, offensive and just plain wrong production by celebrated Serbian theatre director Jagoš Marković.

The Met mounts a well sung but dramatically unconvincing ‘Carmen’

Should looks matter when casting the role of the iconic temptress for HD simulcast?

Maurice Greene’s Jephtha

Maurice Greene (1696-1755) had a highly successful musical career. Organist of St. Paul’s Cathedral, a position to which he was elected when he was just 22 years-old, he later became organist of the Chapel Royal, Professor of Music at the University of Cambridge and, from 1735, Master of the King’s Music.

Tosca in San Francisco

Yet another Tosca is hardly exciting news, if news at all. The current five performances have come just two years after SFO alternated divas Angela Gheorghiu and Patricia Racette in the title role.

Antonin Dvořák: The Cunning Peasant (Šelma Sedlák)

What an enjoyable opportunity to encounter Dvořák’s sixth opera, Šelma Sedlák¸or The Cunning Peasant!

Idomeneo, Royal Opera

Whether biblical parable or mythological moralising, it’s all the same really: human hubris, humility, sacrifice and redemption.

Donizetti’s Les Martyrs — Opera Rara, London

Opera Rara brought a rare performance of Donizetti’s first opera for the Paris Opera to the Royal Festival Hall on 4 November 2014, following recording sessions for the opera.

Luca Pisaroni in San Diego

Bass baritone, Luca Pisaroni, known to opera lovers throughout the world for his excellence in Mozart roles, offered San Diego vocal aficionados a double treat on October 28th: his mellifluous voice, and a recital of German songs.

La bohème, ENO

Jonathan Miller’s production of La bohème for ENO, shared with Cincinnati Opera, sits uneasily, at least as revived by Natascha Metherell, between comedy and tragedy.

Florian Boesch, Wigmore Hall - Liszt, Strauss and Schubert

Any Florian Boesch and Malcolm Martineau performance is superb, but this Wigmore Hall recital surprised, too. Boesch's Schubert is wonderful, but this time, it was his Liszt and Strauss songs which stood out. This year at the Wigmore Hall, we've heard a lot of Liszt and a lot of Richard Strauss everywhere, establishing high standards, but this was special.

Wexford Festival 2014

The weather was auspicious for Wexford Festival Opera’s first-night firework display — mild, clear and calm. But, as the rainbow rockets exploded over the River Slaney, even bigger bangs were being made down at the quayside.

The Met’s ‘Le Nozze di Figaro’ a happy marriage of ensemble singing and acting

The cast of supporting roles was especially strong in the company’s new production of Mozart’s matchless masterpiece

Syracuse Opera’s ‘Die Fledermaus’ bubbles over with fun, laughter and irresistible music

The company uncorks its 40th Anniversary season with a visually and musically satisfying production of Johann Strauss Jr.’s farcical operetta

OPERA TODAY ARCHIVES »

Reviews

Tan Dun: Marco Polo
15 Aug 2010

Marco Polo at Het Muziektheater, Amsterdam

Does this Tan Dun opera prove or disprove that for East and West, the twain shall never meet?

Tan Dun: Marco Polo

Polo: Charles Workman; Marco: Sarah Castle; Kublai Khan: Stephen Richardson; Water: Nancy Allen Lundy; Shadow 1 / Rustichello / Li Po: Zhang Jun;

Opus Arte OA1010D [DVD]

$26.99  Click to buy

Marco Polo provides evidence for both arguments. His score, to a libretto by Paul Griffiths, leaps (or lurches, depending on one’s aural perspective) from his updated take on classical Chinese music with authentic instruments to orchestral passages where Puccini lusciousness gets spiked with Prokofiev edginess. The singers have to use their trained voices for yelps and yips as well as for the occasional legato section. Popping up frequently — arguably all too frequently — a Chinese opera-trained performer, Zhang Jun, squeals and grunts in English in a variety of incarnations, and if he is meant to be a guide for the audience, he is a singularly incomprehensible, if not annoying, one.

Griffith’s libretto attempts no historical narrative. Instead we have a sort of avant-garde pageant of symbolic stages of the Polo journeys, from “Piazza” to “Sea” to “The Wall.” Each of the four seasons gets a section called “The Book of Timespace,” which should go a long way to answering the rhetorical question, “Just how pretentious is this opera?” Charles Workman takes the role of Polo, while Sarah Castle performs as Marco. Stephen Richardson gets the role of Kublai Khan to himself. Apparently only Western explorers cannot resolve their feminine/masculine ying/yang issues. All the singers perform their roles with a stoic professionalism.

A straightforward historical approach probably would have produced a dismal opera, and there will be viewers for whom Tan Dun and Paul Griffiths’ efforts will reverberate with newly realized insights into the long and complex history of Western interactions with China. For others such as your reviewer, the occasional patch of interesting music doesn’t compensate for the long stretches of impatience with the over-stylized, under-realized silliness on stage.

Director Pierre Audi keeps the stage picture continually interesting, if seldom understandable, but then he should, working with the brilliant stage design of Jean Kalman and the costumes of Angelo Figus. But an opera should be more than a visually compelling collection of the weirdest and most wonderful Project Runway designs.

Reiner E. Moritz’s booklet essay matches the opera in its rambling pretentiousness. One example: “When asked whether he composed the music or the music composed him, Tan Dun replied...” Elsewhere Moritz claims that Tan Dun’s 1996 opera “conquered the opera houses of the world,” an event which many an astute follower of opera may have somehow missed. This performance comes from a 2008 revival at the DeNederlandse Opera, with the composer conducting. Those who endured Tan Dun’s The First Emperor at the Metropolitan Opera a few seasons back will know what to expect here.

Chris Mullins


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):