06 Feb 2011
Der Freischütz, Toulon
Carl Marie von Weber’s magical masterpiece has had a hard time of it in France.
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.
Bruckner, Bruckner, wherever one goes; From Salzburg to London, he is with us, he is with us indeed, and will be next week too. (I shall even be given the Third Symphony another try, on my birthday: the things I do for Daniel Barenboim ) Still, at least it seems to mean that fewer unnecessary Mahler-as-showpiece performances are being foisted upon us. Moreover, in this case, it was good, indeed great Bruckner, rather than one of the interminable number of ‘versions’ of interminable earlier works.
Carl Marie von Weber’s magical masterpiece has had a hard time of it in France.
In his memoirs Hector Berlioz heaps condemnation upon its 1824 premiere in Paris where it had been made over to appeal to Parisian (French) taste. Le Freischütz according to Berlioz was “mutilé, vulgarisé, torturé, insulté” — it had in fact even become Robin des Bois.
The usual sarcastic bombast of the memoirs is however absent when Berlioz describes his own transformation of the work. He composed sung recitatives to replace its spoken dialogues for its performances at the Paris Opera in 1841 — no spoken words at this altar of musical art!
Von Weber’s Romantic masterpiece has had a very hard time of it just now in Toulon (home of the French Mediterranean fleet, its magnificent opera house said the be the model for the Paris Opéra Garnier). Its extensive spoken dialogues had been somewhat restored (delivered in German by an international cast [there was one German] to this French speaking audience).
The metteur en scène in Toulon was sixty-three-year-old Jean-Louis Benoit, director of the Théâtre National La Creee-Marseille. He too re-wrote von Weber’s delicate masterpiece, translocating it from the enchanted forests of a mythical Germany to inside Max’s head, a space “urbanisé, métallique, no longer in need of a forest”[!] according to Mr. Benoit.
These days one has learned that it is dangerous to question the visions of stage directors, and anyway it is indeed true that all human perception occurs in someone’s head. Unfortunately Mr. Benoit and his scenic collaborator Laurent Pedruzzi did not have the vocabulary or technique to realize such a concept — the enchanted forest was reduced to a huge hanging circle, presumably a moon, the Wolf Glen was an empty stage, the forest ranger’s home was a bed.
Mr. Benoit’s actors moved presentationally in costumes that identified their character (some of the chorus wore metallic gray great coats), addressing themselves directly to the audience. Chorus movement was geometric and in direct relationship to the musical structure. The metallic urbanization seemed to make this production no more than a concert performance of one of the repertory’s most splendid scores.
Laurence Equilbey is one of the rare females admitted into the fraternity of conductors. Mme. or Ma. Equilbey took a very literal approach to this score, marking its beat stolidly and seldom allowed its music to take flight. In fact Ma. Equilbey seemed to be in contention with the stage from time to time when the music wanted it to take flight all by itself and she insisted on the beat.
This is not to say that we did not hear von Weber’s opera. The orchestra of the Opéra de Toulon approached the score with obvious respect, and responded to its conductor’s talents by giving a clean performance, if one lacking the tonal splendor of, let’s say, the Berlin Philharmonic.
Grave responsibility to create both character and music rests on the shoulders of concert singers. Berlioz noted that the Agathe of Robin des Bois was a lovely singer who delivered her great second act aria with “imperturbable sang-froid” and with all the charm of a vocalise. Much the same thing can be said of the performance of the Toulon Agathe, American soprano Jacqueline Wagner who applied the same sang-froid to Agathe’s lovely third act prayer as well.
Max, Agathe’s misguided fiancé, was entrusted to German tenor Jürgen Müller who combined sturdy singing with believable character. He managed to recover from some vocal malaise that marred the third act trio with Agathe and Ännchen to finish the opera in fine form. All in all he offered a splendid performance.
The Kaspar was sung by Moldovian bass-baritone Roman Ialcic who discovered the cunning of von Weber’s evil paysan but did not project its force. Mr. Ialcic too is a fine singer. Georgian bass Nika Guliashvili was too young to be Agathe’s father, and too green to portray the gravity the head forest ranger Kuno, Canadian soubrette Mélanie Boisvert was an appropriate Ânnchen.