11 Jan 2011
Il barbiere di Siviglia in Montpellier
There is more than one way to skin a cat.
Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.
A historical afternoon at the NTR Saturday Matinee occurred with an epic concert version of Prokofiev’s Soviet Opera Semyon Kotko.
Opening night at the Metropolitan is a gleeful occasion even when the composer is long gone, but December 1st was an opening for a living composer who has been making waves around the world and is, gasp, a woman — the second woman composer ever to have an opera presented at the Met.
The Feast at Solhaug : Henrik Ibsen's play Gildet paa Solhaug (1856) inspired Wilhelm Stenhammer's opera Gillet på Solhaug. The world premiere recording is now available via Sterling CD, in a 3 disc set which includes full libretto and background history.
For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.
As the German language describes so beautifully, a “Schrei aus tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra from the depths of her soul.
Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.
Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.
On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.
Here is one of the next new great conductors. That’s a bold statement, but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment “is the biggest news in the conducting world.” But Ms. Mirga Gražinytė-Tyla will be getting a lot of weight on her shoulders.
Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.
Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.
On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.
Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.
You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.
If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.
Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.
Honours yet again to Oehms Classics who understand the importance of excellence. A composer as good, and as individual, as Walter Braunfels deserves nothing less.
I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.
For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.
There is more than one way to skin a cat.
Montpellier’s old Comedie would have been a perfect venue for Rossini’s most famous comedy, but this fine, late-nineteenth century Italian style theater is closed for renovation. This left the huge, ultra-modern Théâtre Berlioz, a barn-of-a-theater that the Opéra National de Montpellier often makes work against all odds.
The solution for presenting Le Barbier de Seville in this vast space was to import an existing production from another barn-of-a-theater, the Deutsche Oper Berlin. The Deutsch Oper had some solutions of its own for blowing up Rossini’s diminutive masterwork to sufficient size to fill up its vast space.
To wit, performing it as a sort of commedia dell’arte on a stage wagon pulled by a tractor onto a beachfront esplanade in front of a lively square that was perhaps Seville. Though of course Seville is nowhere near any sea. There was a beach, and we presumably sat on it to watch the show, together with various little families, lovers, same-sex lovers and a donkey all of whom from time to time were doing their own thing.
It is Berlin after all, where artistic choices are sometimes questionable though usually amusing. The Deutsche Oper had hired Katharina Thalbach, a protégé of Brecht’s theatrically chic Berliner Ensemble, to stage the opera. Thus Rossini’s hyper-sophisticated early nineteenth century opera would have the gloss of hyper-sophisticated mid-twentieth century theater. It was simply the old-hat trick of a play within a play.
If you are getting the idea that all this could not possibly work you are absolutely right. And worse placing Rossini’s opera within quotation marks distanced us from Rossini’s inimitable musical immediacy. The theatrics were indeed clever (and there were abundant antics by the crowd watching [or not] the silly play to keep us amused). The great Rossini was reduced to a small stage on the stage. And the pit.
The Opéra National de Montpellier had made its choices too. A big theater demands a big conductor, and the Italian maestro Stefano Ranzani was an obvious choice, with credits of the biggest repertory in the biggest theaters. A lot of big music resulted, and of course some weird tempi. And there was even some Rossini to be heard though this was perhaps the first Rossini this maestro ever conducted — no Rossini credits were listed in his program biography.
There were even a few times when a modest Rossini boil was achieved, but those were moments when the maestro was aided by the two veteran Rossinians in the cast, Simone Alaimo as Basilio and Alberto Rinaldi as Bartolo. It was a hint of what Rossini can be but almost never is in great big theaters.
Bartolo’s ward and intended bride Rosina was Georgian mezzo soprano Ketevan Kemoklidze, a recent winner of the Placido Domingo competition (among many other competitions). Appropriately for winning competitions and for Rossini’s Rosina, Mlle. Kemoklidze exhibited boundless confidence. She possesses an unusually bright mezzo voice, a winning stage presence and obviously sings quite well.
Her lover Almaviva was Italian tenor Filippo Adami who sang very well too, and attacked Rossini’s fioratura with cool bravura. Mr. Adami possesses a voice with a fine edge and not much sweetness, attributes that would be more appreciated in productions with specific Rossini musico-dramatic values.
If Mlle. Kemoklidze and Mr. Adami came across as sophisticated performers, young French Canadian baritone Etienne Dupuis, the Figaro, presented himself as a consummately charming performer, but one who does not yet possess the finesse and bravura to fully anchor Rossini’s comedy.
These three young performers are representative of a fine new generation of opera singers, well prepared vocally and musically, and willing and able to fit themselves into whatever directorial visions may occur. This Montpellier staging was obtuse, complex and demanding. These performers made all possible effort to pull it off, and they did. Bravo!
The mid-winter holidays are festive, and entertainments are meant to be festive. If nothing else Le Barbier de Seville in Montpellier was just that. Unlike Berlin, there are actually fine beaches not far away where we will soon find ourselves. All said and done this production was maybe right at home in Montpellier.