24 Oct 2010
La Bohème, ENO
ENO clearly expect high returns from Jonathan Miller’s La Bohème.
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!
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.
By emphasizing the love between Sun Yat-sen and Soong Ching-ling, Ruo showed us the human side of this universally revered modern Chinese leader. Writer Lindsley Miyoshi has quoted the composer as saying that the opera is “about four kinds of love.” It speaks of affection between friends, between parents and children, between lovers, and between patriots and their country.
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’.
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.
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.
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.
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.
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.
Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.
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 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.
Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17.
Twelve years after Opera Holland Park's first production of Francesco Cilea’s Adriana Lecouvreur, the opera made a welcome return.
The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre.
Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission.
If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.
Composed during just a few weeks of the summer of 1926, Janáček’s Slavonic-text Glagolitic Mass was first performed in Brno in December 1927.
With the conclusion of the ROH 2013-14 season on Saturday evening - John Copley’s 40-year old production of La Bohème bringing down the summer curtain - the sun pouring through the gleaming windows of the Floral Hall was a welcome invitation to enjoy a final treat. The Jette Parker Young Artists Summer Showcase offered singers whom we have admired in minor and supporting roles during the past year the opportunity to step into the spotlight.
Many words have already been spent - not all of them on musical matters - on Richard Jones’s Glyndebourne production of Der Rosenkavalier, which last night was transported to the Royal Albert Hall. This was the first time at the Proms that Richard Strauss’s most popular opera had been heard in its entirety and, despite losing two of its principals in transit from Sussex to SW1, this semi-staged performance offered little to fault and much to admire.
ENO clearly expect high returns from Jonathan Miller’s La Bohème.
Premièred just over a year ago and here receiving its first ‘revival’, the management are surely justified in their faith that it will match the enduring successes of his perennial Mikado (which will make yet another appearance in spring 2010) and Rigoletto: this Bohème is an apt tale of poverty and paucity to fill the coffers in austere times. For, while Miller’s vision certainly doesn’t indulge in sentimentalism — his bohemians are a pretty solipsistic bunch — he and his ingenious designer, Isabella Bywater, present us with an ocular feast. Updating the action to 1930s Paris, they have drawn copiously on the visual records of the period — the sepia-tinted photographs of Cartier-Brassaï and Kertész, the cinematography of film noir — to powerfully recreate the zeitgeist of a Depression-era Europe hedonistically living for today in the face of an uncertain or bleak future.
Bywater’s inspired designs are superbly detailed and naturalistic. Within the monochrome greys of city life, contrasts and counter-currents are pointed: the lofty atelier, with assorted clutter, perches above an empty café; Mimi’s humble rooms lie to the right of twisting staircase; the glimpsed warmth of a café interior poignantly emphasises the literal and figurative chill of the wintry square where Mimi and Rodolfo play out their tragedy. The Act 1 set splits and spins artfully, revealing first a street scene and then twisting back to display the exterior and pavement tables of Café Momus — a scene of sparkling yet superficial vivacity, splashes of colour briefly dismissingly the steely grey. Later, another rotation reveals an employment office, a reminder of reality; a further revolution takes us back to the garret room. The cinematic continuity is effortlessly achieved — a neat realisation of Puccini’s verismo (one is reminded that the first production was screened by Sky Arts, different Sky channels simultaneously relaying the events on stage and the backstage action a TV first for ENO).
Mairead Buicke as Musetta
Miller uses the spaces well: in the early acts, many a riposte is shouted from the Bohemians’ bathroom, warnings cry out from the stair-well, a marching band sweeps across the stage at the Act 2 curtain call, creating a sense of space and air which contrasts with the claustrophobic death room of the final scene. Jean Kalman’s lighting is subtle and thoughtful, no more so than when reflections from lowered windows of the garret add fragile glitter and light to the somewhat desperate Christmas festivities of the Café Momus revellers.
Miller is ever alert to the impact of small gestures and details: shutters are quietly closed as someone leaves the room, a lovers’ argument is glimpsed through an upstairs window. But, despite this attention to detail — aided perhaps by the sympathetic spontaneity of the performers themselves — this is not an overly fussy production. Miller’s chief concern seems to be to tell a simple story in a straightforward way, and he succeeds but this very simplicity does give rise to some difficulties.
Part of the problem is that the staging often raises the characters aloft, or pitches them afar. Thus, it’s difficult to establish who they really are — what they feel, if anything. A seemingly heartless bunch, they behave foolishly and suffer for their follies, but do we care? The first meeting of Rodolfo and Mimi is mutually contrived, and because their faces are essentially hidden from view, it’s hard to believe in their passion, or to be convinced that it would last more than one night! The orchestra may speak to us of romance, but our eyes witness a mercantile exchange, especially as Mimi begs continually for new gloves, a necklace The result is a drama with fewer tragic pulses than the average TV soap — there should be scarcely a dry eye in the house at the close, but any tears were surely the product of the superlatively tender violin accompaniment to Mimi’s demise rather than regret for her passing?
Gwyn Hughes Jones as Rodolfo, George von Bergen as Schaunard, Roland Wood as Marcello and Pauls Putninš as Colline
That’s not to say that the cast don’t put on a good show. Not least, we are introduced to Elizabeth Llewellyn, making her company debut as Mimi. A graduate of ENO Opera Works — a training opportunity for talented pre-professional singers who demonstrate potential, and designed specifically for those who come to the profession via unconventional routes — her warm, generous voice easily reached the rafters of the Coliseum, and was much appreciated by the audience. However, while this is an opera which always requires the audience to suspend their disbelief, it was hard to be persuaded that one of such remarkable vocal power was on the verge of consumption-afflicted demise a little more balance between affecting power and vulnerability would have been welcome.
Perhaps the problem is Miller’s conception of the role, for this Mimi is a consumerist flirt who at times seems to have less integrity than Mairead Buicke’s Musetta. Buicke, sporting a neat bob and modish apparel, has great stage presence and relished the theatricality of the role; she had no problem with the virtuosic demands of the part, although she does occasionally sound piercing or shrill. Gywn Hughes-Jones’ Rodolfo is a rather self-pitying sniveller, afraid of his emotions, insecure in his relationships. Challenged, as were the entire cast, to project above an enthusiastic orchestral fabric, often from the far reaches of the stage, Hughes-Jones was strong-toned and confident, but had a tendency to bellow and to come at notes from the side or below.
The Bohemians’ banter and bickering was humorously directed, with four of the first cast returning to their original roles. Roland Wood’s Marcello is vocally a little light-weight, but his diction was clear and his delivery elegant; the spitefulness of his repartee with Musetta added a surprising and effective frisson. George von Bergen and Paul Putninš were charming enough but made little dramatic impact. More arresting was Simon Butteris, whose amusingly lecherous Benoit is a perfectly conceived caricature. Both he and Richard Angas delivered their lines clearly and directly.
Stephen Lord encouraged the ENO orchestra to produce a rich palette of swelling Puccinian rhetoric, injecting some passion into this rather cold-hearted concept. But, this is ‘easy-listening’ and ‘comfort-viewing’ — indeed, in style and substance, there’s not much to choose between these Bohemians and another set of ‘miserables’ elsewhere in the West End. Direct, unpretentious and unsentimental, Jonathan Miller has given ENO another sure-fire winner.