06 Feb 2011
Der Freischütz, Toulon
Carl Marie von Weber’s magical masterpiece has had a hard time of it in France.
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.
On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman theatre of Aspendos near Antalya in southern Turkey is not an arena or amphitheatre at all, so there are not nearly as many ghosts of gored gladiators or dismembered Christians to disturb the contemporary feng shui as in other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014 by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings
On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!
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.