Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Christine Goerke - Strauss Elektra BBC Proms London

The second day of the Richard Strauss weekend at the BBC Proms saw Richard Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014 by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine Goerke in the title role. Felicity Palmer was Clytemnestra, Gun-Brit Barkmin was Chrysothemis, Robert Kunzli was Aegisthus and Johan Reuter was Orestes. The concert staging was by Justin Way.

Christine Goerke - Strauss Elektra BBC Proms London

The second day of the Richard Strauss weekend at the BBC Proms saw Richard Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014 by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine Goerke in the title role. Felicity Palmer was Clytemnestra, Gun-Brit Barkmin was Chrysothemis, Robert Kunzli was Aegisthus and Johan Reuter was Orestes. The concert staging was by Justin Way.

Powerful Mahler Symphony no 2 Harding, BBC Proms London

Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.

Nina Stemme's stunning Strauss Salome, BBC Proms London

The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings

Santa Fe Opera Presents Updated, at One Point Up-ended, Don Pasquale

On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!

Dolora Zajick Premieres Composition

At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.

Gluck: Orfeo ed Euridice

This elegant, smartly-paced film turns Gluck’s Orfeo into a Dostoevskian study of a guilt-wracked misanthrope, portrayed by American countertenor Bejun Mehta.

Aureliano in Palmira in Pesaro

Ossia Il barbiere di Siviglia. Why waste a good tune.

Britten War Requiem - Andris Nelsons, CBSO, BBC Prom 47

In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.

Il barbiere di Siviglia in Pesaro

Both by default and by merit Il barbiere di Siviglia is the hit of the thirty-fifth Rossini Opera Festival. But did anyone really want, and did the world really need yet another production of this old warhorse?

Armida in Pesaro

Armida (1817) is the third of Rossini’s nine operas for the Teatro San Carlo in Naples, all serious. The first was Elisabetta, regina di Inghilterra (1815), the second was Otello (1816), the last was Zelmira (1822).

Santa Fe Opera Presents an Imaginative Carmen

Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.

Elgar Sea Pictures : Alice Coote, Mark Elder Prom 31

Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.

Berio Sinfonia, Shostakovich, BBC Proms

Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.

Four countertenors : Handel Rinaldo Glyndebourne

Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.

Santa Fe Opera Presents The Impresario and Le Rossignol

On August 7, 2014, the Santa Fe Opera presented a double bill of Wolfgang Amadeus Mozart’s The Impresario and Igor Stravinsky’s Le Rossignol (The Nightingale). The Impresario deals with the casting of an opera and Le Rossignol tells the well-known fairy tale about the plain gray bird with an exquisite song.

Barber in the Beehive State

Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.

Stravinsky : Oedipus Rex, BBC Proms

In typical Proms fashion, BBC Prom 28 saw Stravinsky's Oedipus Rex performed in an eclectic programme which started with Beethoven's Egmont Overture and also featured Electric Preludes by the contemporary Australian composer Brett Dean. Sakari Oramo,was making the first of his Proms appearances this year, conducting the BBC Symphony Orchestra, BBC Singers and BBC Symphony Chorus.

Santa Fe Opera Presents a Passionate Fidelio

Santa Fe Opera presented Beethoven’s Fidelio for the first time in 2014. Since the sides of the opera house are open, the audience watched the sun redden the low hanging clouds and set below the Sangre de Cristo mountains while Chief Conductor Harry Bicket led the Santa Fe Opera Orchestra in the rousing overture. At the same time, Alex Penda as the title character readied herself for the ordeal to come as she endeavored to rescue her unjustly imprisoned husband.

Die Entführung aus dem Serail @ Hangar-7

We see the characters first in two boxes at an opera house. The five singers share a box and stare at the stage. But Konstanze’s eye is caught by a man in a box opposite: Bassa Selim (actor Tobias Moretti), who stares steadily at her and broods in voiceover at having lost her, his inspiration.

OPERA TODAY ARCHIVES »

Reviews

Alice Coote as Charlotte [Photo by Cory Weaver courtesy of San Francisco Opera]
24 Sep 2010

Werther in San Francisco

It has been twenty-five years since San Francisco Opera has staged a Werther. so it was high time that Massenet’s whiney, weepy masterpiece be given another chance.

Jules Massenet: Werther

Werther: Ramón Vargas; Charlotte: Alice Coote; Sophie: Heidi Stober; Albert: Brian Mulligan; The Bailiff: Christian Van Horn; Schmidt: Robert MacNeil; Kätchen: Susannah Biller; Brühlmann: Austin Kness; Johann: Bojan Knezevic. Conductor: Emmanuel Villaume. Director: Francisco Negrin. Production Designer: Louis Désiré. Lighting Designer: Duane Schuler.

Above: Alice Coote as Charlotte

All photos by Cory Weaver courtesy of San Francisco Opera

 

How it fared in 1985 is an interesting speculation, as its famed Werther, Alfredo Kraus was then 57 years-old and his Charlotte was the famed verismo diva Renata Scotto in decline.

Just now the Werther was entrusted to 50 year-old Ramón Vargas. Just two years ago Mr. Vargas was the perfect embodiment of an adorable Nemorino in the SFO Elisir d’amore. His career however generally has traversed larger lyric tenor roles — Rodolfo, Lenski, Don Carlo, etc. — for which he has perfected the physical delivery. Unfortunately this famous Mexican tenor no longer seems to be able to muster the vocal heft to match the gestures. Lacking now was the sense of vocal push and emotional release that makes a tenor, and therefore Werther exciting.

Stober_Sophie_SFO.gifHeidi Stober as Sophie

Likewise his Charlotte, British mezzo Alice Coote gave a problematic performance. She is a lovely artist in prime condition whose fame has accrued primarily in the Baroque repertory. But the studied musicality that made her an ideal Idamante in SFO’s 2008 Idomeneo did not serve her in this foray into the French dramatic mezzo repertory. Unlike Mr. Vargas she has not absorbed the gestures and mannerisms of this repertory, an attribute that this production exploited by inducing too much realistic detail into her acting. Coupled with self-conscious musicality her performance was hard to watch.

Conductor Emmanuel Villaume however supplied everything these artists lacked, and created what was a memorable performance, his orchestra whining and weeping convincingly and crying out in full throat and throttle, his expansive tempos relentlessly driving the despair first of Werther and finally of Charlotte. Massenet’s tear-jerker is replete with much opportunity for the double reeds to freely emote and that the fine players of the San Francisco Opera Orchestra did with abandon.

The flawed performances of the protagonists were overwhelmed indeed by Mo. Villaume’s orchestral outpourings and were exacerbated by the set of this new production that elevated the singers and placed them somewhat behind the proscenium arch, a positioning that proved visually and acoustically remote. [This observation was based on sitting in the eighteenth row. At another, performance seated in the third row, these problems disappeared.]

This brand new production, directed by Francisco Negrin and designed by Louis Désiré, is challenging and interesting, attributes that are rare these days at SFO. The intent of the production was apparently to supply the world in which Werther and Charlotte’s story evolved with the innumerable complexities hinted at in the libretto but not present in Massenet’s score. The practical intent was perhaps to insert action into a libretto of static emotional and dramatic situations.

CooVar.gifRamón Vargas as Werther and Alice Coote as Charlotte

The frenzy of subtext that resulted did not illuminate the simple, direct emotions of the Massenet score but rather created a vibrant ambience for Massenet’s ultimate, over-the-top dénouement. Any attempt at analysis of this imposed subtext seems useless as it hardly matters to the emotional gravity of the story that Sophie is head-over-heels in love with Werther or that Albert reads Werther’s letters alongside Charlotte and lies beside her in the marriage bed while she imagines Werther reciting Ossian. These real and imagined complications were sometimes amusing and other times annoying.

All this was effected in a frenzy of staging clichés — piles of furniture, the doubling of characters by actors, scribbling on a wall, lines of neon light, reflective surfaces, post-modern mix of materials and images, shuttering effects of light and image, not to forget the obligatory use of video. But all were put to good use, and even effective once the irritation of seeing these hackneyed tricks hit the stage once again was forgotten.

MulCoo.gifAlice Coote as Charlotte and Brian Mulligan as Albert

Of particularly fine effect was the use of actor doubles for the dying Werther (making three of them!) allowing Charlotte to kneel over a splayed Werther while the erect Vargas/Werther held forth pathetically nearby and the third sat motionless facing upstage. Perhaps there was even a fourth Werther as someone held a torch in upstage blackness all through this long death scene.

It had come as a bit of a surprise when Charlotte donned the black dress in which she emoted over dying Werther — for the first three acts she was kept emotionally aloof and physically far away so it was hard to accept that she suddenly raced to his side.

The set architecture was based on horizontal bands — Werther’s garret on stage level, above that the stage-wide platform on which all life unfolded like on a cinemascope movie screen (even silver hued because of reflective metal walls). And above that floated intermittently a band of photographs of, inexplicably, some old New England houses variously modified from time to time to illustrate mood. A few vertical leafless metallic trees tried to function as an indication of season.

Mr. Vargas and Mme. Coote executed their roles with obvious respect for the production. Baritone Brian Mulligan was directed to an unrelenting oafish presence for Albert that precluded the admittance of any depth to his character. Soprano Heidi Stober brought vitality and vocal brilliance to Sophie in the evening’s only sympathetic performance. The unusually fine supporting cast (the bailiff and his cronies) though too young managed to bring their roles vocally and dramatically alive.

This Werther is co-produced by Lyric Opera of Chicago where presumably it will appear in the 2011-12 season. With another cast it may take on a depth it lacked here in San Francisco.

Michael Milenski

Click here for a photo gallery and video clips.

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):