11 Jan 2011
Il barbiere di Siviglia in Montpellier
There is more than one way to skin a cat.
‘A century after the Somme, who still stands with Britain?’ So read a headline in yesterday’s Evening Standard on the eve of the centenary of the first day of that battle which, 141 days later, would grind to a halt with 1,200,000 British, French, German and Allied soldiers dead or injured.
A day is now a very long time indeed in politics; would that it were otherwise. It certainly is in the Ring, as we move forward a generation to Die Walküre.
If composers had to be categorised as either conservatives or radicals, Christoph Willibald Gluck would undoubtedly be in the revolutionary camp, lauded for banishing display, artifice and incoherence from opera and restoring simplicity and dramatic naturalness in his ‘reform’ operas.
Das Rheingold is, of course, the reddest in tooth and claw of all Wagner’s dramas - which is saying something.
The Princeton Festival presents one opera annually, amidst other events. Its offerings usually alternate annually between 20th century and earlier operas. This year the Festival presented Benjamin Britten’s Peter Grimes, now a classic work, in a very effective and moving production.
If you like your Ariadne on Naxos productions as playful as a box of puppies, then Opera Theatre of Saint Louis is the address for you.
Opera Theatre of Saint Louis took forty years before attempting Verdi’s Macbeth but judging by the excellence of the current production, it was well worth the wait.
On June 16, 2016, Los Angeles Opera with Beth Morrison Projects presented the world premiere of Pulitzer Prize-winning composer David Lang's Anatomy Theater at the Roy and Edna Disney/CalArts Theater (REDCAT).
In its compact forty-year history, the ambitious Opera Theatre of Saint Louis has just triumphantly presented its twenty-fifth world premiere with Shalimar the Clown.
The sharp angles and oddly tilting perspectives of Charles Edwards’ set for David Alden’s production of Jenůfa at ENO suggest a community resting precariously on the security and certainty of its customs, soon to slide from this precipice into social and moral anarchy.
Last week an audience of 50 assembled in the kitchen of a luxurious West Village townhouse for a performance of Marriage of Figaro.
In a recent article in BBC Music Magazine tenor James Gilchrist reflected on the reason why early-nineteenth-century England produced no corpus of art song to match the German lieder of Schumann, Schubert and others, despite the great flowering of English Romantic poetry during this period.
With the New York Premiere of Florencia en el Amazonas, the New York City Opera Steps Out of the Shadows of the Past
Opportunities to see Idomeneo are not so frequent as they might be, certainly not so frequent as they should be.
Not merely Don Carlo, but the five-act Don Carlo in the 1886 Modena version! The welcomed esotericism of San Francisco Opera’s extraordinary spring season.
The early summer San Francisco Opera season has the feel of a classy festival. There is an introduction of Spanish director Calixto Bieito to American audiences, a five-act Don Carlo and two awaited, inevitable role debuts, Karita Mattila as Kostelnička and Malin Bystrom as Janacek's Jenůfa.
Now that the curtain has long fallen on the third and last performance of the Ring cycle at the Washington National Opera (WNO), it is safe to say that the long-anticipated production has been an unqualified success for the company, director Francesca Zambello, and conductor Philippe Auguin.
Most of the attention during this revival of Daniele Abbado’s 2013 production of Nabucco has been directed at Plácido Domingo’s reprise of the title role, with the critical reception somewhat mixed.
My first Tristan, indeed my first Wagner, in the theatre was ENO’s previous staging of the work, twenty years ago, in 1996. The experience, as it should, as it must, although this is alas far from a given, quite overwhelmed me.
Four years ago, almost to the day (13th to 12th), I saw Melly Still’s production of The Cunning Little Vixen during its first Glyndebourne run. I found myself surprised how much more warmly I responded to it this time.
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.