Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Mascagni's Isabeau at Opera Holland Park: in conversation with David Butt Philip

Opera directors are used to thinking their way out of theatrical, dramaturgical and musico-dramatic conundrums, but one of the more unusual challenges must be how to stage the spectacle of a young princess’s naked horseback-ride through the streets of a city.

Grange Park Opera travels to America

The Italian censors forced Giuseppe Verdi and his librettist Antonio Somma to relocate their operatic drama of the murder of the Swedish King Gustav III to Boston, demote the monarch to state governor and rename him Riccardo, and for their production of Un ballo in maschera at Grange Park Opera, director Stephen Medcalf and designer Jamie Vartan have left the ‘ruler’ in his censorial exile.

Puccini’s La bohème at The Royal Opera House

When I reviewed Covent Garden’s Tosca back in January, I came very close to suggesting that we might be entering a period of crisis in casting the great Puccini operas. Fast forward six months, and what a world of difference!

Na’ama Zisser's Mamzer Bastard (world premiere)

Let me begin, like an undergraduate unsure quite what to say at the beginning of an essay: there were many reasons to admire the first performance of Na’ama Zisser’s opera, Mamzer Bastard, a co-commission from the Royal Opera and the Guildhall.

Les Arts Florissants : An English Garden, Barbican London

At the Barbican, London, Les Arts Florissants conducted by Paul Agnew, with soloists of Le Jardin de Voix in "An English Garden" a semi-staged programme of English baroque.

Die Walküre in San Francisco

The hero Siegfried in utero, Siegmund dead, Wotan humiliated, Brünnhilde asleep, San Francisco’s Ring ripped relentlessly into the shredded emotional lives of its gods and mortals. Conductor Donald Runnicles laid bare Richard Wagner’s score in its most heroic and in its most personal revelations, in their intimacy and in their exploding release.

Das Rheingold in San Francisco

Alberich’s ring forged, the gods moved into Valhalla, Loge’s Bic flicked, Wagner’s cumbersome nineteenth century mythology began unfolding last night here in Bayreuth-by-the-Bay.

ENO's Acis and Galatea at Lilian Baylis House

The shepherds and nymphs are at play! It’s end-of-the-year office-party time in Elysium. The bean-bags, balloons and banners - ‘Work Hard, Play Harder’ - invite the weary workers of Mountain Media to let their hair down, and enter the ‘Groves of Delights and Crystal Fountains’.

Lohengrin at the Royal Opera House

Since returning to London in January, I have been heartened by much of what I have seen - and indeed heard - from the Royal Opera.

Stéphane Degout and Simon Lepper

Another wonderful Wigmore song recital: this time from Stéphane Degout – recently shining in George Benjamin's new operatic masterpiece,

An excellent La finta semplice from Classical Opera

‘How beautiful it is to love! But even more beautiful is freedom!’ The opening lines of the libretto of Mozart’s La finta semplice are as contradictory as the unfolding tale is ridiculous. Either that master of comedy, Carlo Goldoni, was having an off-day when he penned the text - which was performed during the Carnival of 1764 in the Teatro Giustiniani di S. Moisè in Venice with music by Salvatore Perillo - or Marco Coltellini, the poeta cesareo who was entertaining the Viennese aristocracy in 1768, took unfortunate liberties with poetry and plot.

Pan-European Orpheus : Julian Prégardien

"Orpheus I am!" - An unusual but very well chosen collection of songs, arias and madrigals from the 17th century, featuring Julian Prégardien and Teatro del mondo. Devised by Andreas Küppers, this collection crosses boundaries demonstrating how Italian, German, French and English contemporaries responded to the legend of Orpheus and Eurydice.

Whatever Love Is: The Prince Consort at Wigmore Hall

‘We love singing songs, telling stories …’ profess The Prince Consort on their website, and this carefully curated programme at Wigmore Hall perfectly embodied this passion, as Artistic Director and pianist Alisdair Hogarth was joined by tenor Andrew Staples (the Consort’s Creative Director), Verity Wingate (soprano) and poet Laura Mucha to reflect on ‘whatever love is’.

Bryn Terfel's magnetic Mephisto in Amsterdam

It had been a while since Bryn Terfel sang a complete opera role in Amsterdam. Back in 2002 his larger-than-life Doctor Dulcamara hijacked the stage of what was then De Nederlandse Opera, now Dutch National Opera.

Laci Boldemann’s Opera Black Is White, Said the Emperor

We normally think of operas as being serious or comical. But a number of operas-some familiar, others forgotten-are neither of these. Instead, they are fantastical, dealing with such things as the fairy world and sorcerers, or with the world of dreams.

A volcanic Elektra by the Netherlands Radio Philharmonic

“There are no gods in heaven!” sings Elektra just before her brother Orest kills their mother. In the Greek plays about the cursed House of Atreus the Olympian gods command the banished Orestes to return home and avenge his father Agamemnon’s murder at the hands of his wife Clytemnestra. He dispatches both her and her lover Aegisthus.

Così fan tutte: Opera Holland Park

Absence makes the heart grow fonder; or does it? In Così fan tutte, who knows? Or rather, what could such a question even mean?

The poignancy of triviality: Garsington Opera's Capriccio

“Wort oder Ton?” asks Richard Strauss’s final opera, Capriccio. The Countess answers with a question of her own, at the close of this self-consciously self-reflective Konversationstück für Musik: “Gibt es einen, der nicht trivail ist?” (“Is there any ending that isn’t trivial?”)

Netia Jones' new Die Zauberflöte opens Garsington Opera's 2018 season

“These portals, these columns prove/that wisdom, industry and art reside here.” So says Tamino, as he gazes up at the three imposing doors in the centre of Netia Jones’ replica of the 18th-century Wormsley Park House - in the grounds of which Garsington Opera’s ‘floating’ Pavilion makes its home each summer.

Feverish love at Opera Holland Park: a fine La traviata opens the 2018 season

If there were any doubts that it was soon to be curtains for Verdi’s titular, tubercular heroine then the tortured gasps of laboured, languishing breath which preceded Rodula Gaitanou’s new production of La traviata for Opera Holland Park would have swiftly served to dispel them.

OPERA TODAY ARCHIVES »

Reviews

Richard Wagner: Rienzi, die letze der Tribunen
07 Jan 2011

Rienzi on DVD

Wagner and Verdi were born within 6 months of each other. Rienzi, der letzte der Tribunen comes from 1840, and could in some ways be Wagner’s Simon Boccanegra.

Richard Wagner: Rienzi, die letze der Tribunen

Rienzi: Torsten Kerl; Irene: Camilla Nylund; Steffano Colonna: Ante Jerkunica; Adriano: Kate Aldrich; Paolo Orsini: Krzysztof Szumanski; Cardinal Orvieto: Lenus Carlson; Baroncelli: Clemens Bieber; Cecco del Vecchio: Stephen Bronk. Berlin Deutsche Opera Chorus and Orchestra (chorus master: William Spaulding). Sebastian Lang-Lessing, conductor. Philipp Stölzl, stage director and set design. Ulrike Siegrist, set design. Kathi Maurer and Ursula Kudrna, costume design. Recorded live from the Deutsche Oper Berlin, 2010.

ArtHaus Musik 101521 [2DVDs] | 101522 [Blu-Ray]

$39.99  Click to buy

In this new DVD of Wagner’s Rienzi — the first ever full filming — from Deutsche Oper Berlin with Torsten Kerl as Rienzi, the overture is outstandingly well staged. Rienzi is alone looking out at a giant panorama of the Alps. The majesty of the mountains overwhelms : this is real power. In comparison, Rienzi’s nobody despite his status. At first he looks out imperiously, then does a dramatic acrobatic backflip. He starts to “conduct” the music he — and we — hear. Eventually the mountains transform into a vision of the world seen from space. The imagery is at once valid in itself, yet it also seemingly mimics the globe scene in Chaplin’s The Great Dictator. Indeed, throughout this production references to early film abound.

Don’t assume, though, this is “only” Berchtesgaden. The Alps can be seen just as clearly from Northern Italy. Strictly speaking, Rienzi isn’t really Italian, since the text is based on an English novel by eminent Victorian Edward Bulwer-Lytton. The subject’s universal — a “man of the people” versus established order who himself gets corrupted by power. Throughout this production, directed by Philip Stölzl, there are references to the early 1920’s, to early film and design. Futurism started in Italy long before the First World War. It’s preoccupation with technology and mass movements found fruit in Russia after 1917, and in German Expressionism. Since the United States was not at war with Germany when The Great Dictator was made, he had to widen his references to include other forms of fascism. Mussolini, for example, wore the white uniform Rienzi wears in this production, and which Chaplin used in his film. Rienzi is about power and the abuse thereof. It could happen anywhere. Indeed the idea of art and designer style as a tool of politics is even more relevant now, in an age of mass media manipulation.

Hence the references to film and propaganda. As Rienzi becomes more caught up with power, his hold on reality loosens. Image-building takes over. The man of the people becomes a huge face projected above the regimented, conforming masses. Theatre becomes a substitute for real life. See how the stage becomes divided. “Public” on top, “private” bunker below, where Rienzi and his intimates function pretty much alone. On the DVD, this split screen effect is particularly good as the lower part resembles film cells rolling on loop. Personality-cult dictatorships have always known the power of image creation, from Napoleon to Mao Zedong. What is the role of the artist in society? This production raises questions, from Sergei Eisenstein for Lenin and Leni Reifenstahl for Hitler.

Torsten Kerl is an excellent, charismatic Rienzi : plenty of forceful volume, yet able to convey the character’s inner virtues. He’s no simplistic stage villain. Wagner builds humanity into the part so Rienzi’s sympathetic. If he were truly ruthless, he’d have wiped out the Colonnas. Kerl’s “Allmächt’ger Vater” is particularly delicate,but throughout the opera, the non-vocal parts are surprisingly contemplative, almost dreamy, as though Wagner understands the value of being visionary. The long non-vocal passages are by no means background, but part of story. This production illustrates them without being intrusive, respecting their oblique nature. Kerl plays with “toy” houses (like empire builders and town planners do). He doesn’t have to sing but his boyish innocence suddenly breaks through the iron man exterior. At the end, Rienzi’s faith seems to rest in the ultimate good of mankind, even though he’s destroyed.

Sebastien Lang-Lessing conducts knowing how important these almost symphonic interludes are in shaping meaning — deft, understated but not overshadowed by the big vocal numbers. Kate Aldrich is an outstanding Adriano Colonna, agile, vibrant, passionate. What a part this is, wavering from one loyalty to another, always on the brink of extreme sacrifice! Aldrich’s voice expresses intensity, her acting the mercurial frisson in the part. This opera is Adriano’s tragedy almost as much as it’s Rienzi’s. Camilla Nylund does well as Irene, though the role is less demanding, and Ante Jerkunica’s a solid Colonna. But it’s the crowd scenes that impress. They’re wonderfully costumed and choreographed. Sometimes the singers march like automatons, the “ideal machine” of Futurist iconology. Sometimes they’re grotesques with masks straight out of caricature. Or Carnival, gone wrong. The singing is equally good. Mechanical precision, even in the mad scenes, showing the crowd as mindless monster.

Although Rienzi is relatively neglected, despite receiving more frequent productions in Europe, this superb new DVD could change that. At 156 minutes, it’s obviously cut from the four hour original, but that may not be a bad thing. The Sawallisch recording with René Kollo is the benchmark, but this performance is edgier and tenser — much closer to the horrible truths in the drama. Kerl’s excellent, making the purchase worthwhile for his sake alone. This performance (filmed live) is also so vivid, it’s a brilliant introduction to an aspect of Wagner that might have been had the composer chosen another direction.

Anne Ozorio

 

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):