06 Feb 2011
Der Freischütz, Toulon
Carl Marie von Weber’s magical masterpiece has had a hard time of it in France.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no less than seven concerts in this season’s NTR ZaterdagMatinee series feature works by Adams, including this concert version of his first opera, Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the Royal Concertgebouw, Daniele Gatti, came together for their first engagement in a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and Wiener Philharmoniker, to hear these three top orchestra perform their series programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.
One of Aidan Lang’s first initiatives as artistic director of Seattle Opera was to encourage his board to formulate a “mission statement” for the fifty-year old company. The document produced was clear, simple, and anodyne. Seattle Opera would aim above all to create work appealing both to the emotions and reason of the audience.
Contrary to Stolzi’s multidimensional Parsifal, Holten’s simple setting of Lohengrin felt timeless with its focus on the drama between characters. Premiering in 2012, nothing too flashy and with a clever twist,
Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner productions. This Fall, its productions of Philipp Stölzl's Parsifal and Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it comes down to last minute replacements, the casting is topnotch.
Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.
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.