Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

San Diego Opera presents Adams’ Riveting Nixon in China

Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.

Ars Minerva presents Castrovillari’s La Cleopatra in San Francisco

It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.

An Ideal Cast in Chicago’s Tannhäuser

Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.

Madame Butterfly, Royal Opera

Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.

Tosca in Marseille

Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.

Poetry beyond words — Nash Ensemble, Wigmore Hall

The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.

Arizona Opera Presents Magritte Style Magic Flute

On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.

Henry Purcell: A Retrospective

There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.

Die Meistersinger and The Indian Queen
at the ENO

It has been a cold and gray winter in the south of France (where I live) made splendid by some really good opera, followed just now by splendid sunshine at Trafalgar Square and two exquisite productions at English National Opera.

Rise and Fall of the City of Mahagonny, Royal Opera

At long last, Rise and Fall of the City of Mahagonny has come to the Royal Opera House. Kurt Weill’s teacher, Busoni, remains scandalously ignored, but a season which includes house firsts both of this opera and Szymanowsi’s King Roger, cannot be all bad.

Unsuk Chin: Alice in Wonderland, Barbican, London

Unsuk Chin’s Alice in Wonderland returned to the Barbican, London, shape-shifted like one of Alice’s adventures. The BBC Symphony Orchestra was assembled en masse, almost teetering off stage, creating a sense of tension. “Eat me, Drink me”. Was Lewis Carroll on hallucinogens or just good at channeling the crazy world of the subconscious?

Welsh National Opera: The Magic Flute and Hansel and Gretel

Dominic Cooke’s 2005 staging of The Magic Flute and Richard Jones’s 1998 production of Hansel and Gretel have been brought together for Welsh National Opera’s spring tour under the unifying moniker, Spellbound.

Double bill at Guildhall

Gaetano Donizetti and Malcolm Arnold might seem odd operatic bedfellows, but this double bill by the Guildhall School of Music and Drama offered a pair of works characterised by ‘madness, misunderstandings and mistaken identity’ which proved witty, sparkling and imaginatively realised.

LA Opera: Barber of Seville

Saturday, February 28, 2015, was the first night for Los Angeles Opera’s revival of its 2009 presentation of The Barber of Seville, a production by Emilio Sagi, which comes originally from Teatro Real in Madrid in cooperation with Lisbon’s Teatro San Carlos. Sagi and onsite director, Trevor Ross, made comedy the focus of their production and provided myriad sight gags which kept the audience laughing.

Marie-Nicole Lemieux, Wigmore Hall

Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me … I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.

Eine florentinische Tragödie and I pagliacci in Monte-Carlo

An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.

Carmen, Pacific Symphony

On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.

The Mastersingers of Nuremberg, ENO

Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.

San Diego Opera presents an excellent Don Giovanni

On Friday February 20, 2015, San Diego Opera presented Mozart’s Don Giovanni in a production by Nicholas Muni originally seen at Cincinnati Opera.

Tosca at Chicago Lyric

In a production first seen in Houston several years ago, and now revised by its director John Caird, Puccini’s Tosca has returned to Lyric Opera of Chicago with two casts, partially different, scheduled into March of the present season.

OPERA TODAY ARCHIVES »

Performances

Plácido Domingo as Oreste [Photo by Ken Howard courtesy of the Metropolitan Opera]
27 Feb 2011

Iphigénie en Tauride, New York

Gluck’s operas are part of a continuum, a tradition of French vocal declamation (as opposed to the Italian school of flights of elegant, open-throated vocal fantasy) that can be traced to him from Lully and Rameau, and then from Gluck through certain works of Mozart and Gluck’s pupil, Salieri to the operas of Spontini, Berlioz and Wagner.

Christoph Willibald Gluck: Iphigénie en Tauride

Iphigénie: Elizabeth Bishop; Oreste: Plácido Domingo; Pylade: Paul Groves; Thoas: Gordon Hawkins; Diane: Julie Boulianne; Priestesses: Lei Xu, Cecelia Hall. Metropolitan Opera Chorus and Orchestra, conducted by Patrick Summers. Performance of February 16.

Above: Plácido Domingo as Oreste

Except as otherwise indicated, all photos by Ken Howard courtesy of the Metropolitan Opera

 

It is not a greater or lesser tradition than the Italian style, but it achieves different dramatic effects, or the same effects by different means, and individual singers are often more proficient in one than in the other. Specialists in Gluck being rare (though he is, happily, going through one of his periodic revivals just now), one must seek great Gluck singers in other branches of the repertory. Those trained for Wagner, not too surprisingly, often fit well in the Gluckian glove. Thus, back in the 1950s, Flagstad and Farrell were both superb as Gluck’s Alceste and would probably have been exciting as his Iphigénie.

Elizabeth_Bishop_02.gifElizabeth Bishop [Photo by Sasha Vasiljev courtesy of Barrett Vantage Artists]

With this in mind, I was intrigued to learn that Susan Graham was indisposed on the night I attended Iphigénie en Tauride at the Met and would be replaced by Elizabeth Bishop. I had last heard Bishop as Venus in Tannhäuser (also a last-minute replacement) and have fond memories of that performance: a young singer of great authority and potential in dramatic roles. But Iphigénie is a less one-note conception than Venus; too, she is the epitome of restraint where Venus is just the opposite.

Gluck’s Iphigénie, taken from Euripides, is a dignified priestess, torn between her personal, humane, Greek sense of ethics and the demands of the barbaric society in which she finds herself trapped, demands that include performing human sacrifices. The screw turns its final gyre when two proposed victims are her long-lost brother, Oreste, and his friend Pylade. Tension is provided by the fact that, after fifteen years apart, the siblings do not recognize each other and somehow never ask each other’s name. Wouldn’t you tell a priestess your name before she cut your throat?

The situation is resolved in antique high style by the appearance of the deity, Diane, who rescues the Greeks and abolishes human sacrifice—but she takes her time to show up (at the end of Act IV), allowing us to comprehend the noble natures of our legendary characters as they face their predicament. In Gluck’s stately score dignity is the watchword, though at the Met, in Stephen Wadsworth’s excessively busy production, Iphigénie is inclined to hysterical fits and hallucinations. So, for that matter, is Oreste, but he has an excuse—the Furies drove him mad for his brief fit of matricide back in Aeschylus’ Oresteia.

IPHIGENIE_Groves_and_Doming.gifPaul Groves as Pylade and Plácido Domingo as Oreste

Bishop sang the priestess-princess with the right stately propriety and a large, burnished mezzo, but with occasional lapses of evenness, of control, that suggested she had not fully gauged the demands of this long role. It was not a fully crafted performance, though a promising one; if Ms. Graham remains under the weather (Bishop has sung at least one other evening since the one I attended), another excursion or two should pull it all together. Plácido Domingo, too, had a cold (and had the Met say so) but, canny codger that he is, concealed his discomfort behind the craziness Oreste calls for. Not until Bishop had him on his back on the altar, knife poised above, did the familiar Domingo sound pour miraculously forth. Paul Groves, as Pylade, had much the best night of the three leading singers, with an ardent, gleaming sound and acting that made this two-dimensional sidekick role seem genuinely heroic. Mr. Groves has usually been regarded as a lightweight, Mozartean tenor, but his singing here implied that he could take on weightier assignments rewardingly: Florestan or Samson or (in Domingo’s footsteps) light Wagner. Gordon Hawkins sang Thoas unimpressively, Julie Boulianne was acceptable as Diane, and I must say a word about Lei Xu and Cecelia Hall, who made a genuine and joyous impression in the small roles of Iphigénie’s assisting priestesses. Gluck obscures no one; his score allows everyone to shine if she or he is able to. The Met chorus did a tidy a job and Patrick Summers brought out the many felicities of this gracious, unusual score that sums up so much of where drama and opera had led by 1779 and predicts so much of what was to come.

IPHIGENIE_Graham_and_Hawkin.gifSusan Graham as Iphigénie and Gordon Hawkins as Thoas

The Wadsworth production accompanies the “Janissary” percussion Gluck composed so that we’d know we were in a land of barbarians with inane and frantic dancing here and there in nooks and landings and crannies of the set to make us think wild orgies were going on next door. There are also pointless and tiresome intrusions of the ghosts of persons sung about who have no business being on stage, where they confuse the casual viewer and annoy the knowing one. All these things, and Iphigénie’s hysteria could be altered with a simple restaging. Less easy to comprehend and impossible to forgive is the positioning of the statue of the goddess in her temple: In all the long millennia of religious faith, this is surely the only occasion anyone has ever offered prayers, sacrifices and hymns to the backside of a deity. Couldn’t they turn her at least ninety degrees and have them offer sacrifice beside her?

All that aside, it’s a good show.

John Yohalem

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):