10 Oct 2010
Technicolour Radamisto at ENO
Handel’s Radamisto came to the ENO at the Coliseum in glorious technicolour.
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.
This elegant, smartly-paced film turns Gluck’s Orfeo into a Dostoevskian study of a guilt-wracked misanthrope, portrayed by American countertenor Bejun Mehta.
Ossia Il barbiere di Siviglia. Why waste a good tune.
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’.
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 (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 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.
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.
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.
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.