01 Sep 2010
Englebert Humperdinck: Hansel und Gretel — BBC Prom 61
The annual visit of Glyndebourne Opera to the BBC Proms has become an eagerly awaited event.
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of Leoš Janàček’s 1921 domestic tragedy, and not entirely in a good way.
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
The annual visit of Glyndebourne Opera to the BBC Proms has become an eagerly awaited event.
This year, Laurent Pelly’s 2008 staging of Humperdinck’s fairy-tale favourite, Hansel and Gretel, with its economical, ‘recession-savvy’ sets — brown cardboard boxes à la homeless-city, floor-mop trees, litter-strewn landscape and flimsy paper ovens — proved a timely and fitting choice for the restricted stage space and theatrical basics available at the Royal Albert Hall. The absence of luxurious stage designs and copious props was certainly not a hindrance to Stéphane Marlot’s clever adaptation for the Royal Albert Hall, which hinted at fantasy and enchantment but left it to the audience’s imagination to fill in the ambiguous gaps — which is just as it should be in fairyland.
After a long Glyndebourne run, which began in July, the cast were confident and at ease; interestingly, performances that might have lacked freshness were given a boost of spontaneity by the unfamiliar locale, none more so that the arrival William Dazely’s Father, surreptitiously signalled by a speculative glance to the back of the Arena by conductor, Robin Ticciati. A boisterous Dazely, clutching two bursting supermarket-bags, raucously negotiated his way through a crowded, surprised Proms Arena, lurching and launching himself over successive barriers to climb up to the stage — the cymbal player serving as a useful bag carrier as the final hoist was accomplished.
As his wife, Imgard Vilsmaier was rather less rough and ready. Vilsmaier has a big Wagnerian voice — booming the Mother’s frustration and despair to the rafters of the Gallery — but it is a pleasant-toned instrument, one which she modulated skilfully in her Act 1 aria to convey her maternal distress and despair.
But it is eponymous siblings who dominate the opera, and this production presented a superlative pairing. Alice Coote, enacted an astonishing metamorphosis to petulant, prepubescent mischief-maker — a touch of attention deficit disorder, perhaps? Coote was exhaustingly hyperactive, even managing to make disappearing into a cardboard box appear interesting and amusing. Her glorious tone was consistently projected with clarity and warmth - one cannot imagine a better Hansel, or a mezzo-soprano who enjoys the role more. Lydia Teuscher, as Gretel, held her own admirably with such a seasoned partner. Possessing a crisp, clear soprano, she twisted and twirled engagingly with her impish brother, their voices entwining with breathtaking beauty in the Evening Prayer.
Attired in a fluorescent pink two-piece suit and bouffant wig, Wolfgang Ablinger-Sperrhacke was an eye-watering picture of consumerist and gastronomic greed as the Witch. His ‘Shirley-Bassey’ strutting, brazenly clutching an upturned mop — microphone or broomstick? — raised uncomfortable hackles, and anticipated the exposure of his chilling intent when he whipped off the wig and revealed the sinisterly bare-headed, pot-bellied, knife-wielding monster beneath the deceptively frivolous drag-queen apparel.
Wolfgang Ablinger-Sperrhacke as the Witch
In the absence of the full trappings of the opera house, it was essentially left to the lighting scheme to successfully evoke location and ambience. The panels encircling the raised platform variously shone ice-blue, for the loveless, foodless family home; blared gothic red for the slaughter-house kitchen; twinkled luminous silver for the moonlit forest; and gleamed verdant green for the final familial reunion. Despite these resourceful effects, it remained somewhat difficult for the minor roles to establish their character effectively, in such a large arena, although the performances of both Tara Erraught, as the Sandman, and Ida Falk Winland’s Dew-Fairy captured the ambiguous bitter-sweet mood of this production.
The children’s chorus, no doubt well-drilled for Glyndebourne, sang sweetly but looked a little unsure and slightly stilted as they moved around the confines of the stage platform. The Dream Pantomime is a clever concept though: Pelly presents a pristine parade of white-frocked, well-fed children, gorging on Big Macs while a hungry Hansel and Gretel can only dream of gluttonous gastronomy — an ‘angelic host’ which leaves the children nothing but discarded wrappers and empty bellies. As one critic has put it, this is a sharp metaphor for the ‘haves and have-nots’, a pertinent message which Pelly presumably hoped would not be lost on the affluent Glyndebourne clientele.
Lydia Teuscher as Gretel and Alice Coote as Hänsel
Conductor Robin Ticciati, danced light-footedly on the podium before an engaging and committed London Philharmonic Orchestra. Ticciati proved himself a master of rhythmic flexibility, skilfully controlling pace to expose the juxtapositions of sweet joy and melancholy deprivation, energetic optimism and despondent resignation, which characterise the score. The orchestra provided the tints and shades of the rich colour palette which was missing visually; their energetic playing never tipped into Wagnerian weightiness, as Ticciati conjured both the effervescence of the children’s escapade and the satisfyingly soporific moments of rest.
There were no sub- or sur-titles for this performance; thus the audience were prompted out of an habitual ‘laziness’, forced to listen closely to the sung text, or attentively follow the libretto provided in the programme, or to rely on their familiarity with this well-known tale. There were no complaints, and no difficulties, as far as I could tell; we simply rediscovered our ability to be responsive to what was presented to our eyes and ears, an effort which audiences should be pushed to make more frequently perhaps?
As the fairy-story reached its equivocal ‘happy ever after’, Ticciati’s baton drew ravishing warmth from his players. Pelly’s reading of this Grimm tale may be ironic and more than a little shadowy, but the darkness on this occasion was buried beneath the orchestral light and hope.