11 Jan 2011
Il barbiere di Siviglia in Montpellier
There is more than one way to skin a cat.
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw Orchestra’s season with a slightly uneven performance of Mahler’s Resurrection Symphony. With four planned, this staple repertoire for the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful production. With magnificent voices, Andreas Schager and Dorothea Röschmann rescued Michael Thalheimer’s grotesque staging of von Weber’s Der Freischütz. At Staatsoper Unter den Linden, Alexander Soddy led a richly detailed, transparent and brilliantly glowing Berliner Staatskapelle.
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an intriguing American double bill of rarities. An experience that was well worth the trip to this desolate ghost town, remnant of industrial West Germany.
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.