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 Reviews

John Joubert's Jane Eyre

Librettists have long mined the literature shelves for narratives that are ripe for musico-dramatic embodiment. On the whole, it’s the short stories and poems - The Turn of the Screw, Eugene Onegin or Death in Venice, for example - that best lend themselves to operatic adaptation.

Hibiki: a European premiere by Mark-Anthony Turnage at the Proms

Hibiki: sound, noise, echo, reverberation, harmony. Commissioned by the Suntory Hall in Tokyo to celebrate the Hall’s 30th anniversary in 2016, Mark-Anthony Turnage’s 50-minute Hibiki, for two female soloists, children’s chorus and large orchestra, purports to reflect on the ‘human reverberations’ of the Tohoku earthquake in 2011 and the devastation caused by the subsequent tsunami and radioactive disaster.

Through Life and Love: Louise Alder sings Strauss

Soprano Louise Alder has had an eventful few months. Declared ‘Young Singer of the Year’ at the 2017 International Opera Awards in May, the following month she won the Dame Joan Sutherland Audience Prize at the BBC Cardiff Singer of the World.

Janáček: The Diary of One Who Disappeared, Grimeborn

A great performance of Janáček’s song cycle The Diary of One Who Disappeared can be, allowing for the casting of a superb tenor, an experience on a par with Schoenberg’s Erwartung. That Shadwell Opera’s minimalist, but powerful, staging in the intimate setting of Studio 2 of the Arcola Theatre was a triumph was in no small measure to the magnificent singing of the tenor, Sam Furness.

Khovanshchina: Mussorgsky at the Proms

Remembering the centenary of the Russian Revolution, this Proms performance of Mussorgsky’s mighty Khovanshchina (all four and a quarter hours of it) exceeded all expectations on a musical level. And, while the trademark doorstop Proms opera programme duly arrived containing full text and translation, one should celebrate the fact that - finally - we had surtitles on several screens.

Santa Fe: Entertaining If Not Exactly (R)evolutionary

You know what I loved best about Santa Fe Opera’s world premiere The (R)evolution of Steve Jobs?

Longborough Young Artists in London: Gluck's Orfeo ed Euridice

For the last three years, Longborough Festival Opera’s repertoire of choice for their Young Artist Programme productions has been Baroque opera seria, more specifically Handel, with last year’s Alcina succeeding Rinaldo in 2014 and Xerxes in 2015.

A Master Baritone in Recital: Sesto Bruscantini, 1981

This is the only disc ever devoted to the art of Sesto Bruscantini (1919–2003). Record collectors value his performance of major baritone roles, especially comic but also serious ones, on many complete opera recordings, such as Il barbiere di Siviglia (with Victoria de los Angeles). He continued to perform at major houses until at least 1985 and even recorded Mozart's Don Alfonso in 1991, when he was 72.

Emalie Savoy: A Portrait

Since 1952, the ARD—the organization of German radio stations—has run an annual competition for young musicians. Winners have included Jessye Norman, Maurice André, Heinz Holliger, and Mitsuko Uchida. Starting in 2015, the CD firm GENUIN has offered, as a separate award, the chance for one of the prize winners to make a CD that can serve as a kind of calling card to the larger musical and music-loving world. In 2016, the second such CD award was given to the Aris Quartett (second-prize winner in the “string quartet” category).

Full-throated Cockerel at Santa Fe

A tale of a lazy, befuddled world leader that ‘has no clothes on’ and his two dimwit sons, hmmmm, what does that remind me of. . .?

Santa Fe’s Trippy Handel

If you don’t like a given moment in Santa Fe Opera’s staging of Alcina, well, just like the volatile mountain weather, wait two minutes and it will surely change.

Santa Fe’s Crowd-Pleasing Strauss

With Die Fledermaus’ thrice familiar overture still lingering in our ears, it didn’t take long for the assault of hijinks to reduce the audience into guffaws of delight.

Santa Fe: Mad for Lucia

If there is any practitioner currently singing the punishing title role of Lucia di Lammermoor better than Brenda Rae, I am hard-pressed to name her.

Janáček's The Cunning Little Vixen at Grimeborn

Janáček’s The Cunning Little Vixen can be a difficult opera to stage, despite its charm and simplicity. In part it is a good, old-fashioned morality tale about the relationships between humans and animals, and between themselves, but Janáček doesn’t use a sledgehammer to make this point. It is easy for many productions to fall into parody, and many have done, and it is a tribute to The Opera Company’s staging of this work at the Arcola Theatre that they narrowly avoided this pitfall.

Handel's Israel in Egypt at the Proms: William Christie and the OAE

For all its extreme popularity with choirs, Handel’s oratorio Israel in Egypt is a somewhat problematic work; the scarcity of solos makes hiring professional soloists an extravagant expense, and the standard version of the work starts oddly with a tenor recitative. If we return to the work's history then these issues are put into context, and this is what William Christie did for the performance of Handel’s Israel in Egypt at the BBC Proms at the Royal Albert Hall on Tuesday 1 August 2017.

Sirens and Scheherazade: Prom 18

From Monteverdi’s Il ritorno d'Ulisse in patria, to Bruch’s choral-orchestral Odysseus, to Fauré’s Penelope, countless compositions have taken their inspiration from Homer’s Odyssey, perhaps not surprisingly given Homer’s emphasis on the power of music in the Greek world.

Discovering Gounod’s Cinq Mars: Another Rarity Success for Oper Leipzig

Oper Leipzig usually receives less international attention than its Dresden, Munich or Berlin counterparts; however, with its fabulous Gewandhaus Orchestra, and its penchant for opera rarities (and a new Ring Cycle), this quality hotspot will be attracting more and more opera lovers. Leipzig’s new production of Gounod’s Cinq Mars continues this high quality tradition.

Detlev Glanert : Requiem for Hieronymus Bosch

Detlev Glanert's Requiem for Hieronymus Bosch should be a huge hit. Just as Carl Orff's Carmina Burana appeals to audiences who don't listen to early music (or even to much classical music), Glanert's Requiem for Hieronymus Bosch has all the elements for instant popular success.

A new La clemenza di Tito at Glyndebourne

Big birds are looming large at Glyndebourne this year. After Juno’s Peacock, which scooped up the suicidal Hipermestra, Chris Guth’s La clemenza di Tito offers us a huge soaring magpie, symbolic of Tito’s release from the chains of responsibility in Imperial Rome.

Prom 9: Fidelio lives by its Florestan

The last time Beethoven’s sole opera, Fidelio, was performed at the Proms, in 2009, Daniel Barenboim was making a somewhat belated London opera debut with his West-Eastern Divan Orchestra.

OPERA TODAY ARCHIVES »

Reviews

Kate Lindsey as Nicklausse with Paul Groves as Hoffmann in the background [Photo by Ken Howard courtesy of Santa Fe Opera]
15 Aug 2010

Tales of Hoffmann at Santa Fe

The performances of Jacques Offenbach’s The Tales of Hoffmann at Santa Fe Opera this summer are based on Michael Kaye’s edition of the score.

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: Kate Lindsey as Nicklausse with Paul Groves as Hoffmann in the background [Photo by Ken Howard courtesy of Santa Fe Opera]

 

Since the composer died on October 5, 1880, some four months before the premiere of his opera, the score was assembled by Ernest Guiraud who paid more attention to the needs and desires of theater presenters than to the presumed wishes of the dead composer.

In 1976, French conductor Antonio DeAlmeida, the leading expert in modern Offenbach studies, discovered more than 1,250 pages of the opera’s earliest manuscripts at the home of the composer’s relatives. The new pages were mostly music for voice and piano dating from a period when Offenbach was composing the title role for a baritone. Based on his extensive knowledge of Offenbach’s life and works, DeAlmeida was able to authenticate them. Since musicologist Michael Kaye assisted him on the preparation of his thematic catalogue of all of Offenbach’s compositions, both he and Kaye had unlimited access to many sources of the composer’s work.

DeAlmeida arranged for Kaye to meet the heirs of Jacques Offenbach, who permitted him to have copies of all of the Tales of Hoffmann manuscripts in their possession. In 1986, three hundred and fifty previously unknown, fully orchestrated pages came to light. Kaye received permission to publish them for the first time and started compiling a performing edition that would be as close to Offenbach’s intentions as possible. He wanted it to be a faithful reflection of the composer’s achievements as realized in his posthumous masterpiece. Kaye’s goal was to reunite all the pages of the various manuscripts that were found in public and private collections and produce one definitive edition.

There have been several phases of Kaye’s Tales of Hoffmann Publication Project. There are provisional scores for opera companies. The original dialogues have been located. Guiraud’s recitatives have been made compatible with the recovered Offenbach music and the original dramaturgy. That, of course, has generated various performing versions with dialogues and recitatives. There have also been additional discoveries, including the authentic final scene of the Giulietta Act. One of these discoveries was that the role of Giulietta, often given to mezzo-sopranos, contained high C’s, D’s and E-flats, which could only be sung by a soprano. Another find contained music for Stella to sing in the last act. These and other changes were brought to life in the new edition performed on August third.

On August 3, the Kaye edition of The Tales of Hoffmann by Jacques Offenbach was presented at Santa Fe Opera. The imaginative production by Christopher Alden with scenery by Allen Moyer and attractive costumes by Constance Hoffmann underscored the dream element of the original E.T.A. Hoffmann stories. Hoffmann was portrayed by the dependable Paul Groves who colored his robust voice to fit each situation. Unfortunately, the soprano who sang his love interests, Erin Wall, had noticeable difficulty negotiating her coloratura.

Kate Lindsey interpreted the extensive role of The Muse/Nicklausse with a clear, rich, lyric mezzo sound. Her ‘Violin Aria’ was particularly affecting. Wayne Tigges was an evil villain who sang with incisive dark tonal colors. As the servants, David Cangelosi proved to be fascinating as both acrobat and vocalist. Surprisingly, leading mezzo Jill Groves sat in the beer hall for ages before she finally sang the lines of Antonia’s Mother. All the smaller parts were well sung and the orchestra, expansively conducted by Stephen Lord, underscored the enduring delight of the French composer’s music. It was a truly fascinating evening.

Maria Nockin

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):