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

Will Don Quichotte Be the Last Production at San Diego Opera?

This quotation from Cervantes was displayed before the opening of the opera’s final scene:

“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”

Gound Faust - Calleja and Terfel, Royal Opera House London

Gounod's Faust makes a much welcomed return to the Royal Opera House. With each new cast, the dynamic changes as the balance between singers shifts and brings out new insights. In that sense, every revival is an opportunity to revisit from new perspectives. This time Bryn Terfel sang Méphistophélès, with Joseph Calleja as Faust - stars whose allure certainly helped fill the hall to capacity. And the audience enjoyed a very good show.

Syracuse Opera’s Porgy and Bess
Got Plenty O’ Plenty

The company ends its 2013-14 season on a high note with a staged performance of Gershwin’s theatrical masterpiece

A New Rusalka in Chicago

Lyric Opera of Chicago’s new production of Antonin Dvorak’s Rusalka is visually impressive and fulfills all possible expectations musically with unquestioned excitement.

Karlsruhe’s Mixed Blessing Ballo

The reliable Badisches Staatstheater has assembled plenty of talent for its new Un Ballo in Maschera.

Louise Alder, Wigmore Hall

This varied, demanding programme indisputably marked soprano Louise Alder as a name to watch.

Luke Bedford: Through His Teeth, Linbury, Royal Opera House

Can this be the best British opera in years? Luke Bedford’s Through His Teeth at the Royal Opera House’s Linbury Theatre is exceptional. Drop everything and go.

Powder Her Face, ENO

As one descends the steel steps into the cavernous bunker of Ambika P3, one seems about to enter rather insalubrious realms — just right one might imagine, then, for an opera which delves into the depths of the seedier side of celebrity life.

Iphigénie Fascinates in the Pfalz

Kaiserslautern’s Pfalztheater has produced a tantalizing realization of Gluck’s Iphigénie en Aulide, characterized by intriguing staging, appealing designs, and best of all, superlative musical standards.

ROH presents Cavalli’s L’Ormindo at the Sam Wanamaker Playhouse, London

Never thought I’d say it but......

Harrison Birtwistle, Elliott Carter, Wigmore Hall, London

Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.

Requiem for a Lost Opera Company

On Wednesday, March 19, 2014, General Director Ian Campbell of San Diego Opera announced that the company would go out of business at the end of this season. The next day the company performed their long-planned Verdi Requiem with a stellar cast including soprano Krassimira Stoyanova, mezzo-soprano Stephanie Blythe, tenor Piotr Beczala, and bass Ferruccio Furlanetto.

The Met’s Werther a tasty mix of singing, staging, acting and orchestral splendor

Visual elements in Richard Eyre’s striking production offset Massenet’s melodic shortcomings

Chicago’s New Barber of Seville

New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.

Lucia in LA: A Performance to Remember

On March 15, 2014, Los Angeles Opera presented Elkhanah Pulitzer’s production of the opera, which she set in 1885 when women were beginning to be recognized as persons separate from their fathers, brothers and husbands. At that time many European countries were beginning to allow women to own property, obtain higher education, and choose their husbands.

San Diego Opera Presents an All Star Ballo in Maschera

On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.

Anne Schwanewilms, Wigmore Hall

From the moment she walked, resplendent in red, onto the Wigmore Hall platform, Anne Schwanewilms radiated a captivating presence — one that kept the audience enthralled throughout this magnificent programme of Romantic song.

Die Frau ohne Schatten, Royal Opera

Magnificent! Following the first night of this new production of Die Frau ohne Schatten, I quipped that I could forgive an opera house anything for musical performance at this level, whether orchestral, vocal, or, in this case, both.

La Fille du regiment, Royal Opera

Donizetti’s opera comique La Fille du regiment returned to the Royal Opera House, Covent Garden, for its third revival.

Schoenberg and company

With Schoenberg, I tend to take every opportunity I can — at least since my first visit to the Salzburg Festival, when understandably I chose to see Figaro over Boulez conducting Moses und Aron, though I have rued the loss ever since.

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):