06 Feb 2011
Der Freischütz, Toulon
Carl Marie von Weber’s magical masterpiece has had a hard time of it in France.
One of the initiatives for the community at the Lucerne Festival is the ‘40 min’ series. A free concert given before the evening’s main event that ranges from chamber music to orchestral rehearsals.
The mysteries and myths surrounding Mozart’s Requiem Mass - left unfinished at his death and completed by his pupil, Franz Xaver Süssmayr - abide, reinvigorated and prolonged by Peter Shaffer’s play Amadeus as directed on film by Miloš Forman. The origins of the work’s commission and composition remain unknown but in our collective cultural and musical consciousness the Requiem has come to assume an autobiographical role: as if Mozart was composing a mass for his own presaged death.
I saw two operas consecutively at Oper Koln. First, the utterly bewildering Lucia di Lammermoor; then Thilo Reinhardt’s thrilling Tosca. His staging was pure operatic joy with some Hitchcockian provocations.
Bernard Haitink’s monumental Bruckner and Mahler performances with the Royal Concertgebouw Orchestra (RCO) got me hooked on classical music. His legendary performance of Bruckner’s Symphony No. 8 in C-minor, where in the Finale loosened plaster fell from the Concertgebouw ceiling, is still recounted in Amsterdam.
Karita Mattila was born to sing Emilia Marty, the diva around whom revolves Leoš Janáček's The Makropulos Affair (Věc Makropulos). At Prom 45, she shone all the more because she was conducted by Jirí Belohlávek and performed alongside a superb cast from the National Theatre, Prague, probably the finest and most idiomatic exponents of this repertoire.
‘Two outrageous operas in one crazy evening,’ reads the bill. Hyperbole? Certainly not when the operas are two of Jacques Offenbach’s more off-the-wall bouffoneries and when the company is Opera della Luna whose artistic director, Jeff Clarke, is blessed with the comic imagination and theatrical nous to turn even the most vacuous trivia into a sharp and sassy riotous romp.
This performance of Britten's A Midsummer Night's Dream at Glyndebourne was so good that it was the highlight of the whole season, making the term ‘revival’ utterly irrelevant. Jakub Hrůša is always stimulating, but on this occasion, his conducting was so inspired that I found myself closing my eyes in order to concentrate on what he revealed in Britten's quirky but brilliant score. Eyes closed in this famous production by Peter Hall, first seen in 1981?
A staged piano recital and an opera as a concert. Pianist András Schiff accompanied the Salzburg Marionette Theater at the Mozarteum Grosser Saal and Anna Netrebko sang Manon Lescaut at the Grosses Festspielhaus.
On August 4, 2016, soprano Leah Crocetto and accompanist Tamara Sanikidze gave a recital at the Scottish Rite Center in Santa Fe New Mexico. A winner of the Metropolitan Opera Auditions and the BBC Cardiff Singer of the World Contest, this year Crocetto was singing Donna Anna in Santa Fe Opera’s excellent Don Giovanni.
On July 31, 2016, against the ethereal beauty of the main hall in the Scottish Rite Center, soprano Angela Meade and pianist Joe Illick gave a recital offering both opera and art songs ranging in origin from early nineteenth century Europe to mid twentieth century America. Many in the audience probably remembered Meade’s recent excellent portrayal of Norma at Los Angeles Opera.
When more is definitely more, and less would indeed be less. Two of the biggest names in Italian theater art collide in an eponymous theater.
It was the fifth Proms Chamber Music concert at Cadogan Hall this season, and we were celebrating Shakespeare’s 400th. And, given the extent and range of the composers and artists, and the diversity and profundity of the musical achievement inspired by the Bard, we could probably keep celebrating in this fashion ad infinitum.
Each August the bleak and leaky, 12,000 seat Arena Adriatica (home of the famed Pesaro basketball team) magically transforms itself into an improvised opera house that boasts the ultimate in opera chic — exemplary Rossini production standards for its now twelve hundred seats.
This highly enjoyable Prom, part of 2016’s ‘Proms at ’ mini-series, took as its guiding concept the reopening of London’s theatres following the Restoration, focusing in particular upon musical and dramatic responses to Shakespeare. Purcell, rightly, loomed large, with John Blow and Matthew Locke joining him. Receiving their Proms premieres were the excerpts from Timon of Athens and those from Locke’s The Tempest.
With all the bombast of the presidential campaigns rattling in our heads, with invectives being exchanged and measured discussion all but absent, how utterly lovely to retreat and relax into the harmonious soundscape and well-reasoned debate posed in Strauss’ Capriccio, on magnificent display at Santa Fe Opera.
When we entered the Crosby Theatre for Gounod’s Roméo et Juliette the stage was surprisingly dominated by a somber, semi-circular black mausoleum, many chambers inscribed with scrambled names of US Civil War era dead.
Molten passions were seething just below the icy Nordic exterior of Santa Fe Opera’s wholly masterful production of Barber’s Vanessa.
Farce is probably the most difficult of dramatic comedy sub-genres to put across. A farce got up in the stately robes of opera sets its presenters an even higher bar. Presenting an operatic farce on a notoriously chilly and cavernous auditorium is to risk catastrophe.
Fan interest began raging when Santa Fe Opera engaged venerable artist Patricia Racette to make her role debut as Minnie in Puccini’s La Fanciulla del West.
A funny thing happened on the way to Andalusia.
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.