15 Dec 2010
Karlsruhe Tosca: Guns ‘n’ Jesus
Badisches Staastheater’s production of Tosca starts off with a bang.
This may be the twelfth revival of Jonathan Miller’s 1987 production of Rossini’s The Barber of Seville for English National Opera, but the ready laughter from the auditorium and the fresh musical and dramatic responses from the stage suggest that it will continue to amuse audiences and serve the house well for some time to come.
The third and final instalment of the Academy of Ancient Music’s survey of Monteverdi’s operas at the Barbican began and ended in darkness; the red glow of the single candle was an apt visual frame for a performance which was dedicated to the memory of the late Andrew Porter, the music critic and writer whose learned, pertinent and eloquent words did so much to restore Monteverdi, Cavalli and other neglected music-dramatists to the operatic stage.
English Touring Opera’s recent programming has been ambitious and inventive, and the results have been rewarding. We had two little-known Donizetti operas, The Siege of Calais and The Wild Man of the West Indies, in spring 2015, while autumn 2014 saw the company stage comedy by Haydn (Il mondo della luna) and romantic history by Handel (Ottone).
LA Opera got its season off to an auspicious beginning with starry revivals of Gianni Schicchi and Pagliacci.
On September 9, 2015, Opera Las Vegas presented James Sohre’s production of Viva Verdi at the Smith Center’s Cabaret Jazz. It was a delightful evening of arias, duets and ensembles by Giuseppe Verdi (1813-1901). The program included many of the composer’s blockbuster arias and scenes from famous operas such as Aida, La traviata, and Macbeth.
On Saturday, September 19, San Diego Opera opened its 2015-2016 season with a recital by tenor René Barbera. This was the first Polly Puterbaugh Emerging Artist Award Recital and no artist could have been more deserving than the immensely talented Barbera.
Did the iconic “off-beat” and “serious” American musical hold the stage of the War Memorial Opera House? The excited audience (standees three deep) thought so and roared their appreciation.
The Wigmore Hall, London, has launched Schubert : The Complete Songs, a 40-concert series to run through the 2015 and 2016 seasons. There have been Schubert marathons before, like BBC Radio 3's all-Schubert week and The Oxford Lieder Festival's Schubert series last year, but the Wigmore Hall series will be a major landmark because the Wigmore Hall is the Wigmore Hall, the epitome of excellence.
Luisa Miller sits on the fringes of the repertory, and since its introduction into the modern repertory in the 1970’s it comes around every 15 or so years. Unfortunately this 2015 San Francisco occasion has not bothered to rethink this remarkable opera.
Demonised by Pushkin and Peter Shaffer, Antonio Salieri lives in the public imagination as the embittered rival of Wolfgang Amadeus Mozart — whose genius he lamented and revered in equal measure, and against whom he schemed and plotted at the Emperor Joseph II’s Viennese court.
The annual concert given by Lyric Opera of Chicago as an outdoor event previewing the forthcoming season took place on 11 September 2015 at Millennium Park.
Orpheus — that Greek hero whose songs could enchant both deities and beasts, whose lyre has become a metaphor for the power of music itself, and whose journey to the Underworld to rescue his wife, Eurydice, kick-started the art of opera in Mantua in 1607 — has been travelling far and wide around the UK in 2015.
One is a quasi-verbatim rendering of J.M. Synge’s bleak tale of a Donegal family’s fateful dependency on and submission to the deathly power of the sea.
Is there anything that countertenor Iestyn Davies cannot do with his voice?
BBC Proms Youth Choir shines in a performance notable for its magical transparency
The John Wilson Orchestra have been annual summer visitors to the Royal Albert Hall since their Proms debut in 2009 and, with their seductive blend of technical precision, buoyant glitziness and relaxed insouciance, their concerts have become a hugely anticipated fixture and a sure highlight of the Promenade season.
Disappointing staging mars Alice Coote’s vibrant if wayward musical performance
Impresario Boris Goldovsky famously referred to La finta giardiniera as The Phony Farmerette.
At Santa Fe Opera, Donizetti’s effervescent The Daughter of the Regiment can’t quite decide what it wants to be when it grows up.
Santa Fe Opera noted a landmark two-thousandth performance in their distinguished history with a stylish new production of Rigoletto.
Badisches Staastheater’s production of Tosca starts off with a bang.
A cardinal’s face appears upstage in the skylight hole of a tromp l’oeil baroque church cupola and several men are lined up on a slightly elevated platform (just a step up), facing him upstage. Then gunshots ring out and the men fall dead to the ground. And the famous opening chords ring out as a drop cuts off the sight of their corpses.
Bear with me here, and trust me as I say if this is perhaps not the Tosca of your dreams, nor does it turn out to be the Tosca of your worst nightmares. There is much to recommend in the pared down scenic approach. If you reveled in the excesses of Zeffirelli’s Met-ravaganza, stay far away from this one, because Heinz Balthes’s church scene is largely played “in one” in front of the above mentioned drop. Panels eventually part to reveal multiple Mylar-mirrored images of the Virgin (that Cavaradossi never touches with a paint brush), but somehow the imagery is apt, handsome even honest.
There is no visible gate to the side chapel where Angelotti hides, only a statue of Mary down left that remains there throughout. Down right is a well we’ll get to that later. John Dew’s direction is full of quirks, most of them fresh, some of them downright frech, all of them (save one) uncommonly intriguing. Our diva and the tenor are playfully frisky and ardent to the point that they actually spend some time lounging about on the floor of the chapel! (Honey, don’t you worry about kissing him in front of the Madonna when you were pressing against him on the tiles!)
Arguably the most sensational innovation was having Scarpia portrayed (are you seated?) as a cardinal of the church. Yes, you read it here. And well, think about it, why not? Highly placed civilians like a police chief could buy their way into position in the church, and within the context of today’s sexual misbehavior within the clergy, it added a whole extra Creep Factor to his lustful pursuit of the leading lady. Ewwwwwwwwww. Instead of merely attending the service of the Eucharist, Scarpia led it even as he plotted his sordid seduction. Double Eeeeeeeeeeeeew. In moments like these Mr. Dew provided a complex spontaneity to this Puccini War Horse that I no longer thought possible.
And Balthes’ simple sets focused the whole shebang right where it should be, on the characters. The Farnese Palace featured only a long banquet table and some doors, and that was all that was needed. What an effective cat and mouse pursuit was facilitated around that ample table. Jose Manuel Vasquez contrived vividly appropriate costumes, from the vibrant red of the cardinal’s cassock, to Tosca’s steely blue Act II satin gown, to her Norma Desmond white entrance dress with red turban and over-jacket. Gorgeously detailed, character-specific attire. Gerd Meier’s lighting was not called upon to do much more than area isolation and general washes but they were even, well colored, and for once, we saw the perfomers’ faces. And what performers they were! If you wanted you could pay ten times the ticket prices in New York or Vienna and still not see a cast this good.
Keith Ikaia-Purdy as Cavaradossi and Barbara Dobrzanska as Tosca [Photo by Jochen Klenk courtesy of Badisches Staatstheater Karlsruhe]
Barbara Dobrzanska is a local treasure who seems content to remain so, for she could conquer many an international house with her secure spinto soprano. I am not sure that I have heard anyone nail the role’s high notes with greater skill. They definitely rated a ten on the Thrill-O-Meter. Her middle and lower voice are uniform and seamless, and she never faltered in musical excellence or dramatic concentration. I did have the feeling that Ms. Dobrzanska is still somewhat feeling her way through this iconic role. There aren’t many parts that have more baggage than this one are there? I mean, to include the ghost of La Callas hovering over it. Barbara has all the skill sets in place, but as of yet there seemed to be too much control in a character than is explosive passion incarnate. Oddly, her least effective moment was probably Vissi d’arte. Oh it was exceedingly well sung, but it seemed almost an out of body experience for her. For sheer sound, stamina, and power, though, hers was a notable role assumption. And she looked as glamorous as I have ever seen her (although her gait could glide a bit more). Barbara Dobrzanska is already a very fine Tosca and as she internalizes it more, she can likely develop into one of the greats.
Keith Ikaia-Purdy was born to sing Cavaradossi, the vocal line fitting him like a glove and highlighting all his strengths. Although announced as indisposed, he called upon his solid technique to fill the house with idiomatic, heartfelt Puccinian vocalism of a very high standard indeed. His steely top notes can assuredly thrill with a ringing Vittoria and the like, but what sets him apart is his sensitivity to text and his ability to scale back his voice for nuanced phrasings. When he and his soprano got revved up in their duets, they were smokin’ and you knew you had come to the right address!
Barbara Dobrzanska as Tosca [Photo by Jochen Klenk courtesy of Badisches Staatstheater Karlsruhe]
Stefan Stoll was a fine foil as Scarpia, his solid, stentorian baritone fulfilling all of the demands of the part with none of the cliches. His Te Deum was memorable and a high point of the performance. His varied banter with Tosca was laden with sub-text, his character three-dimensional. Ulrich Schneider was a more sober Sacristan than is usual and while his virile baritone was pleasing to hear, the role lost some of the comic definition that usually enriches these scenes. Luiz Molz sang nicely as Angelotti but lacked that final bit of honest urgency. Hans-Jörg Weinschenk’s Spoletta and (especially) Alexander Huck’s Sciarrone were not the usual comprimario turns, but very well sung indeed with ringing tone -- welcome portrayals by two skilled performers. I somewhat missed the purity of a boy soprano as the Shepherd, but Őzgecan Gençer won me over with her sweet account of the Act III opening.
Conductor Jochem Hochstenbach had the band in good order, and the ensemble between stage and pit was commendable. There might have been a little more indulgence in give and take with the principles but the whole performance was tidy and stylistically sound. Hans-Jörg Kalmbach’s childrens’ chorus was notably well prepared.
The one mega-major-mucho miscalculation was alas, saved for last. First off (and this is not it), instead of jumping to her death, Tosca instead gets shot dead like the line-up of extras in the opening. You are thinking: “That’s not it????” Admit it. You are.
No, after her “different” demise, a statue of scourged Jesus that had been placed down right suddenly comes to life. Clad in what seems to be Depends, a diaphanous red cloak, and a crown of thorns out of Martha Stewart Living,our Lord sprints over to the corpse. This was undoubtedly meant to somehow be an avanti a Dio moment but really, the way the super flitted, it came off more: “Gurl, waddamaddawidyougetupoffadatfloorandrun!” Where was another bullet when you needed it ?