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 Performances

An English Winter Journey

Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.

History Repeating Itself: Prokofiev’s Semyon Kotko, Amsterdam Concertgebouw

A historical afternoon at the NTR Saturday Matinee occurred with an epic concert version of Prokofiev’s Soviet Opera Semyon Kotko.

L’amour de loin at the Metropolitan Opera

Opening night at the Metropolitan is a gleeful occasion even when the composer is long gone, but December 1st was an opening for a living composer who has been making waves around the world and is, gasp, a woman — the second woman composer ever to have an opera presented at the Met.

La finta giardiniera at the Royal College of Music

For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.

Lust for Revenge: Barenboim and Herlitzius fire up Strauss’s Elektra in Berlin

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.

Semyon Bychkov heading to NYC and DC with Glanert and Mahler

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.

Lost Stravinsky re-united with Rimsky-Korsakov, Gergiev, Mariinsky

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.

Philippe Jaroussky at the Wigmore Hall: Baroque cantatas by Telemann and J.S.Bach

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.

The new Queen of the City of Birmingham Symphony Orchestra

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.

Falstaff at Manitoba Opera

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.

Gothic Schubert : Wigmore Hall, London

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.

Rusalka, AZ Opera

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.

First new Ring Cycle in 40 Years, Leipzig

Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.

San Jose’s Beta-Carotene Rich Barber

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.

Manon Lescaut at Covent Garden

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.

Fierce in War, dazzling in Peace: Joyce DiDonato at the Concertgebouw

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.

Simplicius Simplicissimus

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.

Lucia di Lammermoor at Lyric Opera of Chicago

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 Offers L A Operagoers Both Ear and Eye Candy

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 in the Late Baroque - Bampton Classical Opera

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.

OPERA TODAY ARCHIVES »

Performances

Vèronique Gens as Niobe [Photo by Bill Cooper courtesy of the Royal Opera]
26 Sep 2010

Niobe, Regina di Tebe, Royal Opera

The Royal Opera is hardly renowned for its commitment to baroque opera, and even the great Handel still gets short shrift in his adopted city’s major house.

Agostino Steffani: Niobe, Regina di Tebe

Niobe: Vèronique Gens; Anfione: Jacek Laszczkowski; Manto: Amanda Forsythe; Creonte: Iestyn Davies; Tiberino: Lothar Odinius; Clearte: Tim Mead; Nerea: Delphine Galou; Tiresia: Bruno Taddia; Poliferno: Alastair Miles. Royal Opera House, London. September 23rd.

Above: Vèronique Gens as Niobe
br/>All photos by Bill Cooper courtesy of the Royal Opera

 

So it was with some surprise that Niobe, Regina di Tebe by Agostino Steffani (first performed 1688) hit the computer screen some months ago as Covent Garden’s 2010/11 baroque offering. Many could be forgiven for muttering “what…by whom?”

NIOBE-BC20100920258-LASZCZK.gifJacek Laszczkowski as Anfione

Reading the ROH notes, it becomes clear that it was a combination of financial expediency (a useful co-production with a recent successful track record) and genuine appreciation of the music revealed in the 2008 revival at the Schwetzingen Festival that encouraged the Royal Opera to add its considerable clout to the 2010 revival performances around Europe. Leaving aside the question of why Steffani — an admirable polymath of his time, but hardly the baroque’s greatest opera composer — we must at least be thankful that the ROH has been prepared to put some time and effort into converting what was an essentially small scale festival production into something that fits the bigger stage.

Even more important than this stage adaptation is the quality of the music and story-telling: and for this we must thank the energetic and committed Thomas Hengelbrock who as director of the period-instrument Balthazar-Neumann Ensemble has been the driving force behind the production from 2008 with his own critical edition. The same production team that enjoyed such success at Schwetzingen are responsible for the “hard gloss & soft fabric” look of the piece that on occasion seems to hark back to some of Pierre Audi’s early works with the Monteverdi operas. Exaggerated richly-hued baroque flounces and golden breast plates contrast with mirror surfaces and monumental palatial interiors. There are some very effective visual ideas that complement the richness of the scoring and the mythological elements of the libretto — be prepared for costumed fanfares, huge helium balloons and some very realistic fire effects — Steffani, with his taste for stage machinery and loud bangs, would have approved.

Mead_Niobe_ROH.gifTim Mead as Clearte

The story itself is a re-telling of the events leading up to the destruction of the proud queen Niobe of Thebes as told by Ovid — a tale of love, desire, pride and hubris that ends in tragedy - yet in true baroque fashion it also confirms the ascendancy of love and honour. Niobe, soprano Veronique Gens, is left to rule Thebes as her husband Anfione, male soprano Jacek Laszczkowski, goes off on a sort of regal “retreat” — a bad move on his part as Niobe has a would-be lover in the form of courtier Clearte, countertenor Tim Mead, and another in the form of foreign prince Creonte, countertenor Iestyn Davies. There is the almost-ubiquitous malevolent magician of these times, Poliferno, bass Alastair Miles, plotting in the background. Add to this the amorous sub-plot of two lesser characters, priestess Manto, soprano Amanda Forsythe, the daughter of High Priest Tiresia, baritone Bruno Taddia, and prince Tiberino, tenor Lothar Odinius, and season with a comic nurse character Nerea, contralto Delphine Galou, and you have a baroque compôte to rival any of Handel’s or Vivaldi’s. Where it differs is that here there is no lieto fine and the final scenes are a chilling reminder of how the gods punish the proud and foolish. Dead children are never an easy call for opera, and the emotional punches are not pulled. The very final scene, sung by the newly-enthroned Creonte, is both sternly optimistic but also ambiguous.

NIOBE-BC20100917152-MILES&G.gifAlastair Miles as Poliferno and Véronique Gens as Niobe

The quality of the vocal writing matches the inventiveness of the music which seems to hover, musicologically, somewhere between Cavalli and early Handel. The recitatives are lyrical, the arias and duets constantly change form and texture with no one vocal style predominating. There is no aria longer than five minutes and the da capo form in its full Handelian sense is missing: this helps to drive the action forward and several set-piece arias are interrupted by another character. The orchestration is equally complex and thoroughly fascinating in its detail and richness; often a character will be assigned his or her “own” obbligato instrument - such as the nurse Nerea who sings several slightly cynical or world-weary arias with some virtuosic recorder playing echoing her complaints. Anfione is often accompanied by the smaller strings and viola da gamba. Under the confident and stylish direction of Hengelbrock, his expanded orchestra gives an object lesson in how to transfer what was an intimate festival performance in 2008 into a major house display in 2010.

The singers themselves — also mainly from the Schwetzinger production — sound and look comfortable in their music. Niobe is a perfect role for the statuesque figure and warmly lyrical soprano of Gens; she convinced totally as her voice moved from purring eroticism to agonised despair. Her husband Anfione, the reluctant king, was equally believable in the hands and voice of Laszczkowski whose male soprano worked best when he stopped the action with heartfelt prayers for harmony, love and a bit of peace and quiet. Occasional tenorial lapses were a slight problem at the bottom of his soprano range, but there is no denying the ethereal effect of his top. Of the countertenors, Iestyn Davies had the least to do vocally, but did it best. He continues to mature vocally and dramatically and his voice is an effective mix of clarity, volume and pleasing tone. Tim Mead perhaps gave more on the acting front and was a convincing besotted lover. Alastair Miles, who makes something of a habit of playing evil magicians, was nicely devious with his reliable bass as agile as ever. Is there a better baroque Mr Nasty? Delphine Galou (Nerea), Amanda Forsythe (Manto), Bruno Taddia (Tiresia) and Lothar Odinius (Tiberino) all pleased without quite approaching the levels of the principals; Forsythe has a pretty, light, soprano that struggled in the large space whilst Galou’s lightish contralto carried more easily to the back of the house.

NIOBE-BC201009210557-GENS&D.gifVéronique Gens as Niobe and Iestyn Davies as Creonte

Although there was not, unsurprisingly, a full house on first night, there was a noticeable lack of empty seats after the one interval, which is always a good sign with a “new” opera. Most of the audience seemed caught up with the excellence of the music and visual spectacle and were generous in their applause at curtain call. If Gens and Davies just about won the applause-stakes for the singers, then they were both beaten by a short head by the superb players of the Balthasar Neumann Ensemble in the pit. Thomas Hengelbrock looked both relieved and delighted, and so he should. The production runs to the 3rd October before transferring to Luxembourg. Recommended.

Sue Loder © 2010

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):