Recently in Performances
As the German language describes so beautifully, a “Schrei aus
tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra
from the depths of her soul.
Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.
Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.
On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.
Here is one of the next new great conductors. That’s a bold statement,
but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment
“is the biggest news in the conducting world.” But Ms. Mirga
Gražinytė-Tyla will be getting a lot of weight on her shoulders.
Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.
Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.
On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.
Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.
You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.
If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.
Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.
I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.
For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.
Akhnaten is the third in composer Philip Glass’s trilogy of operas about people who have made important contributions to society: Albert Einstein in science, Mahatma Gandhi in politics, and Akhnaten in religion. Glass’s three operas are: Einstein on the Beach, Satyagraha, and Akhnaten.
Shakespeare re-imagined for the very Late Baroque, with Bampton Classical Opera at St John's Smith Square. "Shakespeare, Shakespeare, Shakespeare....the God of Our Idolatory". So wrote David Garrick in his Ode to Shakespeare (1759) through which the actor and showman marketed Shakespeare to new audiences, fanning the flames of "Bardolatory". All Europe was soon caught up in the frenzy.
David Little composed his one-man opera, Soldier Songs, ten years ago and the International Festival of Arts & Ideas of New Haven, Connecticut, premiered it in 2011. At San Diego Opera, the fifty-five minute musical presentation and the “Talk Back” that followed it were part of the Shiley dētour Series which is held in the company’s smaller venue, the historic Balboa Theatre.
On Saturday evening November 12, 2016, Pacific Opera Project presented Gioachino Rossini’s comic opera The Barber of Seville in an updated version that placed the action in Hollywood. It was sung in the original Italian but the translation seen as supertitles was specially written to match the characters’ Hollywood identities.
A Butterfly for the ages in a Butterfly marred by casting ineptness and lugubrious conducting.
In 1964, 400 years after the birth of the Bard, the writer Anthony Burgess saw Cole Porter’s musical comedy Kiss Me, Kate, a romping variation on The Taming of the Shrew. Shakespeare’s comedy, Burgess said, had a ‘good playhouse reek about it’, adding ‘the Bard might be regarded as closer to Cole Porter and Broadway razzmatazz’ than to the scholars who were ‘picking him raw’.
29 Sep 2010
Faust by ENO
Perhaps because the rather stolidly Victorian character of both its music
and its morality, Gounod’s Faust has been out of fashion in the
UK in recent decades, and owes a debt to David McVicar and his darkly Gothic
production for the Royal Opera in 2004 (now, at last, available on DVD) for the
restoration of its footing in the standard repertoire.
ENO has entrusted its new production to Des McAnuff, best-known in London
for the musical Jersey Boys which is currently enjoying a long run at the
Prince Edward Theatre. The only toe he has thus far dipped in the operatic
water was a production of Wozzeck in San Diego last year — not a
piece that would come automatically to mind for a novice opera director. An
eclectic history, promising more than some of the guest directors engaged by
ENO in the recent past. McAnuff fixes the starting point of the opera in a WW2
atomic bomb laboratory. It is easy to believe how an ageing scientist would be
left feeling unfulfilled after devoting his life and career to an inherently
cold-blooded and inhuman vocation.
Faust’s reversion to youth appears to take him back to the early days
of WW1 — though a few obviously intentional anachronisms make the period
somewhat indistinct — and initially it is a romanticised vision of jolly
carousing soldiers with their girls in dirndl skirts and flouncy blouses. The
love scene is idealised even further, with intense coloured lighting, and
flowers appearing to spring up at will on the projected backdrop. From that
point forwards the scales start to fall from Faust’s eyes and time seems
to be sped up; the colour is blanched from the scene, Marguerite seems to age
several years in the few months that elapse between Acts 3 and 4, and even more
between then and the final scene. The perky soldiers of the Act 2 tavern scene
are almost unrecognisable when they return from duty, old and bent and going
crazy with shell-shock.
Melody Moore and Iain Paterson
In the title role, Toby Spence was a revelation. His attractive stage
presence, clarity of delivery and impeccable diction have never been in
question, but Faust is a fuller lyric role than Spence has been used to, and I
feared his voice may simply be swamped by the orchestra or vanish into the
further reaches of the Coliseum’s vast auditorium. But in the event, the
fullness of his sound at the very beginning had me worried that he might be
over-singing, and I was relieved when the sound seemed to settle down, easily
big enough for the occasion but retaining his trademark bright, youthful sound,
right up to a splendidly confident high C in ‘Salut, demeure’. It
is not the most flexible or nuanced sound, nor does it sound French —
I’m not sure it’s possible to when singing in English translation
— but it was confident, romantic and hugely enjoyable.
Iain Paterson was a congenial Mephistopheles, more gentleman than devil I
felt, and he’s got the stage presence for the role. Although his lowest
notes lack power (he’s a bass-baritone rather than a bass) he turned in
an exceptionally stylish vocal performance.
Melody Moore and Toby Spence
The American soprano Melody Moore made a disappointing first impression as
Marguerite (rendered in the surtitles as Margarita, though the principals
seemed to be approximating the French pronunciation); there is something
invulnerable and unyielding about her vocal quality which makes her difficult
to engage with, and she made hard work of the Jewel Song. She did come into her
own in the final scene, where the same qualities that had earlier been
frustrating made for an effectively steadfast ‘Anges purs’.
Benedict Nelson’s Valentin was secure and simply effective in
‘Avant de quitter ces lieux’, and Anna Grevelius’s charmingly
androgynous Siebel was beautifully-sung.
Iain Paterson and Pamela Helen Stephen
Ed Gardner struck the right balance with the score, neither too heavy-handed
in the rhythmic numbers nor too over-indulgent in the lyrical ones. Only
‘Le veau d’or’ didn’t quite have the drive to take
McAnuff’s production worked for me for the most part, though it was
disappointing that he opted to cut the Walpurgisnacht ballet altogether —
all that remained of the scene was an episode in which Mephistopheles shows
Faust a group of tortured souls writhing round a table. If going down the
historically-informed opera ballet route doesn’t appeal (and frankly, why
would it?) surely the ballet is the greatest opportunity for a director and his
choreographer to add to the audience’s understanding, or to crystallize
their production concept in the form of a vignette?
At the end, with Marguerite redeemed and Faust dragged down by
Mephistopheles through a Don Giovanni-style trapdoor, we see the elderly Faust
appearing in his laboratory, collapsing after apparently having drained the cup
of poison from the start of the opera. Was his whole adventure into youth and
corruption, then, just the hallucination of a poisoned and dying man? The
elixir of youth to which Mephistopheles transforms Faust’s deadly draught
is poison of one sort or another, whether its effect be physical or moral, and
either way, Faust ends up back where he started.
Ruth Elleson © 2010