15 Aug 2010
Tristan in Seattle
Seattle, the city of software and Starbucks, is also a summer site for serious Wagnerites.
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw Orchestra’s season with a slightly uneven performance of Mahler’s Resurrection Symphony. With four planned, this staple repertoire for the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful production. With magnificent voices, Andreas Schager and Dorothea Röschmann rescued Michael Thalheimer’s grotesque staging of von Weber’s Der Freischütz. At Staatsoper Unter den Linden, Alexander Soddy led a richly detailed, transparent and brilliantly glowing Berliner Staatskapelle.
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an intriguing American double bill of rarities. An experience that was well worth the trip to this desolate ghost town, remnant of industrial West Germany.
Seattle, the city of software and Starbucks, is also a summer site for serious Wagnerites.
Best known for its regular Ring cycle, the Seattle Opera presents other Wagner operas in the off years. The high quality of this summer’s performance of Tristan und Isolde is a tribute to the company’s seriousness of purpose. While perhaps not quite a match for its legendary 1998 Tristan, in which Jane Eaglen and Ben Heppner debuted in the title roles, it nonetheless presents as strong a cast as one is likely to encounter anywhere today.
Clifton Forbis is that rarest of singers: a genuine dramatic Heldentenor whose clarion top rests on a dark baritonal base. If his voice seems a bit less supple than in his impressive 2005 Geneva performance (available on DVD), it is now more solidly grounded. On August 4, despite lingering indisposition, he displayed hardly a single moment of technical insecurity. While somewhat restrained in Act I, perhaps by design, he trumpeted the Act III high notes with apparent ease—as if, in the Birgit Nilsson tradition, he could sing it all over again. (The performance was shorn of the Act II “Tag und Nacht” segment, a standard Seattle cut, but Act III was performed complete—more than many Tristans sing.) Throughout there were moments of genuine musical and dramatic insight. While those with a historical perspective might quibble, calling here and there for clearer diction, subtler phrasing, gentler pianos, warmer timbre, or deeper psychological insight—who today sings a finer Tristan?
Annalena Persson as Isolde
Much anticipation surrounded the American debut of Annalena Persson. The young Swedish soprano sang the role of Isolde to acclaim at the Welsh National Opera in 2006, where Seattle impresario Speight Jenkins signed her up. (The local press hints that she is slated as Seattle’s 2013 Brünnhilde as well.) Young, blonde, comely and, by Wagnerian standards, slim, Persson looks the part. Her silvery voice has edge and brilliance that can project, despite some lack of warmth and heft, through a Wagnerian orchestra. At times she is a thrilling interpreter, particularly at moments of anger and excitement, such as the Act I Narration and Curse—especially where the orchestration is light. But the role of Isolde overstretches her vocal resources. On sustained (particularly rising) tones in the upper middle part of the voice, the voice weakens and the vibrato widens dangerously. The “Liebestod,” almost entirely comprised of such passages sung against full orchestra, was thus anti-climactic.
The secondary roles were all taken by Seattle favorites, to great effect. Stephen Milling nearly stole the show with a moving König Marke. His rich bass effortlessly filled the hall, and his German diction was exemplary. Margaret Jane Wray is gaining attention these days, consistently singing major roles at the Met. To judge from her Brangäne here, the spreading fame is well-deserved. Hers is a soprano approach to this Zwischenfach role, slightly steely at the top, but clearly projected and delivered, with plenty of volume. Greer Grimsley, Seattle’s resident Wotan, made a more convincing Kurwenal for being understated and elegant wherever possible. Jason Collins plays a forceful Melot, Simeon Esper a sweet Shepherd/Sailor, and Barry Johnson a fine Steersman.
Clifton Forbis as Tristan
Seattle’s Principal Guest Conductor Asher Fisch is not one to pepper this score with excessive accelerandos, overweighty accents, or bloated brass. He strives instead for a consistent mood of classical restraint, brilliantly achieved through smooth line, subtle detail, smooth blend, and transparent textures. (Connoisseurs might note also the innovative use of open strings and Wagner’s specified Holztrompete in Act III.) The orchestra, once past some botched entrances in the prelude, played splendidly.
Stage director Peter Kazaras conceives Acts II and III as Tristan and Isolde’s final hallucination. That is, the potion is indeed the death potion Isolde ordered, and from then on we share the images that pass through the lovers’ minds in the moments before they expire. The inspiration is Ambrose Bierce’s famous short story, “An Occurrence at Owl Creek Bridge.” This concept offers many potential insights into text and score. It promises to link the opera’s two central concepts, love and death, in a unique way, underscores Tristan and Isolde’s uncanny separation from all that goes on around them, with everything important taking place within their minds, and highlights the opera’s uniquely distorted sense of time.
Annalena Persson as Isolde and Margaret Jane Wray as Brangäne
Ultimately the production fails to fully engage this demanding concept, though the stage direction, set design, and costumes (the latter two being the work of Robert Israel) display numerous virtues. On the positive side, a semi-transparent curtain draws the viewer gently into the dream world of each act, as if falling asleep (in the best possible sense!). The gloomy semi-abstract unit set, with a window at the back into reality, is visually neutral but acoustically resonant—a virtue too often neglected these days. The blocking of Act II, in which Tristan and Isolde slowly follow one another across a dark stage, like Orpheus and Eurydice, evokes their ghostly state between worlds. Similarly consistent with the concept, Kurwenal is never killed but simply recedes from Tristan’s consciousness. Tristan and Isolde’s costumes shift from mortal red to half-red, and finally to pure transfigured white, as if the blood is slowly draining from them. The extensive use of computer-aided lighting effects, a Seattle innovation with this production, is evocative. Tristan sings his first lines in Act II while apparently fully encased in a large slab of solid stone—a striking effect in itself, but also one that highlights that Isolde is summoning him only in her mind. (It would be even more effective if maintained for more than a few lines.) Other coups de théâtre include a glittering shower for the potion, and a giant, glowing holographic candle for the Act II light.
Yet much else is a jumble, undermining the production’s core concept. Semi-realistic elements—large wrapped paintings, a tree, furniture, and the little model ship (mandatory, it seems, in contemporary Tristan productions)—coexist uneasily with abstract ones, such as laser-like red cords and a “stage within a stage” curtain behind which characters intermittently disappeared. This is hallucinatory, perhaps, but incoherent. The blocking at the end of Act I, and throughout Act II, tells us less than it might about the subjective experience of passing from day into night: It is not clear, for example, why the “dying” Tristan and Isolde are separated at the start of Act II, then again reunited. Nor does the costuming and comportment of secondary characters clearly delineate their status from the subjective perspective of the dying couple: One would expect a more fundamental change in how they are perceived after the Tristan and Isolde imbibe poison. In the end, too much of the production is static, even blandly realistic, in a classic stand-and-sing manner.
In the intermissions and on line, one encounters considerable criticism of this production for being too radical. I believe it is, on balance, too conservative. Readers of my recent commentary on the Stuttgart Ring know I can be critical of the excesses of Wagnerian Regietheater. Yet this production of Tristan might profitably have been more radical and rigorously intellectual—more konsequent, a German critic might well have said. The production is insightful as it stands, but a future revival might give Kazaras a second chance to realize its promising central idea more starkly.