10 Oct 2010
Technicolour Radamisto at ENO
Handel’s Radamisto came to the ENO at the Coliseum in glorious technicolour.
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.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no less than seven concerts in this season’s NTR ZaterdagMatinee series feature works by Adams, including this concert version of his first opera, Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the Royal Concertgebouw, Daniele Gatti, came together for their first engagement in a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and Wiener Philharmoniker, to hear these three top orchestra perform their series programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.
One of Aidan Lang’s first initiatives as artistic director of Seattle Opera was to encourage his board to formulate a “mission statement” for the fifty-year old company. The document produced was clear, simple, and anodyne. Seattle Opera would aim above all to create work appealing both to the emotions and reason of the audience.
Contrary to Stolzi’s multidimensional Parsifal, Holten’s simple setting of Lohengrin felt timeless with its focus on the drama between characters. Premiering in 2012, nothing too flashy and with a clever twist,
Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner productions. This Fall, its productions of Philipp Stölzl's Parsifal and Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it comes down to last minute replacements, the casting is topnotch.
Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.
Handel’s Radamisto came to the ENO at the Coliseum in glorious technicolour.
Images of Asia proliferate polygamously — Mughal India, Tokugawa Japan, and Chinese restaurant chic, tumbled randomly together. The text, of course, mentions Armenia. Visual indigestion, if you’re culturally aware. But to Handel and his audiences, specifics didn’t matter. Radamisto is a morality tale which transcends time and place.
Tiridate (Ryan McKinny) lusts for Zenobia (Christine Rice) who’s happily married to Radamisto (Lawrence Zazza). To win her he’ll drop his wife Polissena (Sophie Bevan) and usurp Farasmane’s kingdom (Henry Waddington). But Zenobia’s having nothing of it. She’d rather die than be unfaithful. Subplots and complications (they’re all family, for example) are decorative embellishments. The basic message is surprisingly simple: love overcomes all.
This fundamental chastity pervades the whole opera. Structurally, it’s very tight. In neat succession, set piece arias follow one another, allowing each singer to display his or her vocal virtuosity.Simplicity of form, allowing inventive elaboration without blurring the basic line. Much like the set designs. Despite being floridly over the top, these designs are much more minimal than appear at first.
Christine Rice as Zenobia and Lawrence Zazzo as Radamisto
Lawrence Zazzo’s Radamisto is superb. His tessitura isn’t forced but flows well, carefully modulated and well-judged, important in a role which stresses integrity. The extended rhapsody on honour is particularly striking, decorations extending each word, yet flowing naturally, without affectation. You marvel at the inventiveness, but also meditate on meaning. Honour does matter, Radamisto keeps saying as he and Zenobia amply demonstrate. These aren’t just “words”, dwelling on them serves a moral as well as artistic purpose.
The contrast between Radamisto and Tiridate is enhanced counterbalancing Zazzo’s countertenor with Ryan McKinny’s bass-baritone. In baroque, low voices often signify villains, but McKinny doesn’t overdo the inherent power in his voice. Instead he relies on subtle expression, using agile legato. In any case, refinement enhances the role. Tiridate holds a sword poised to kill Radamisto, but the long, lyrical elaboration deflects the menace, Reality, in Handel, is deeper than it seems on the surface.
Christine Rice is exquisitely dignified and gracious. In Carmen, she seemed inhibited, and even as Ariadne in Birtwistle’s The Minotaur she didn’t access the kinkier aspects of the role. As Zenobia, however, she’s ideal. Her patrician reserve perfectly fits the role, so she can create Zenobia’s compelling beauty with her voice. Sophie Bevan’s Polissena and Henry Waddington’s Farasmane impressed too. Ailish Tynan’s Tigrane reached notes higher than might be expected.
Scene from Radamisto
So what was my biggest misgiving about this production? David Alden depicts Tigrane as a grotesque, a camp cross between Sidney Greenstreet and King Farouk, but for no conceivable purpose. Is he trying to inject comic humour? Perhaps it works in a grubby sort of way but it jars with the noble import of this opera. The whole point, for Handel, was to edify. The idea of morality trouncing tyranny was inherently racy in a time when absolute monarchy still held sway. Besides, Tigrane is arguably a hero since it’s he who selflessly resolves matters. This portrayal is misogynistic and homophobic, completely pointless. Admittedly it was part of the 2008 Santa Fe premiere but it’s still deeply offensive and should be dropped.
What Alden lacks in sensitivity, Laurence Cummings made up for with the orchestra, who played with brio under his direction.