Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Santa Fe Opera Presents an Imaginative Carmen

Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.

Elgar Sea Pictures : Alice Coote, Mark Elder Prom 31

Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.

Berio Sinfonia, Shostakovich, BBC Proms

Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.

Four countertenors : Handel Rinaldo Glyndebourne

Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.

Santa Fe Opera Presents The Impresario and Le Rossignol

On August 7, 2014, the Santa Fe Opera presented a double bill of Wolfgang Amadeus Mozart’s The Impresario and Igor Stravinsky’s Le Rossignol (The Nightingale). The Impresario deals with the casting of an opera and Le Rossignol tells the well-known fairy tale about the plain gray bird with an exquisite song.

Barber in the Beehive State

Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.

Stravinsky : Oedipus Rex, BBC Proms

In typical Proms fashion, BBC Prom 28 saw Stravinsky's Oedipus Rex performed in an eclectic programme which started with Beethoven's Egmont Overture and also featured Electric Preludes by the contemporary Australian composer Brett Dean. Sakari Oramo,was making the first of his Proms appearances this year, conducting the BBC Symphony Orchestra, BBC Singers and BBC Symphony Chorus.

Santa Fe Opera Presents a Passionate Fidelio

Santa Fe Opera presented Beethoven’s Fidelio for the first time in 2014. Since the sides of the opera house are open, the audience watched the sun redden the low hanging clouds and set below the Sangre de Cristo mountains while Chief Conductor Harry Bicket led the Santa Fe Opera Orchestra in the rousing overture. At the same time, Alex Penda as the title character readied herself for the ordeal to come as she endeavored to rescue her unjustly imprisoned husband.

Rameau Grand Motets, BBC Proms

Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17.

Adriana Lecouvreur, Opera Holland Park

Twelve years after Opera Holland Park's first production of Francesco Cilea’s Adriana Lecouvreur, the opera made a welcome return.

Back to the Beginnings: Monteverdi’s Il ritorno d’Ulisse in patria at Iford Opera.

The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre.

Schoenberg : Moses und Aron, Welsh National Opera, London

Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission.

Count Ory, Dead Man Walking
and La traviata in Des Moines

If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.

Janáček’s Glagolitic Mass, BBC Proms

Composed during just a few weeks of the summer of 1926, Janáček’s Slavonic-text Glagolitic Mass was first performed in Brno in December 1927.

Donizetti and Mozart, Jette Parker Young Artists Royal Opera House, London

With the conclusion of the ROH 2013-14 season on Saturday evening - John Copley’s 40-year old production of La Bohème bringing down the summer curtain - the sun pouring through the gleaming windows of the Floral Hall was a welcome invitation to enjoy a final treat. The Jette Parker Young Artists Summer Showcase offered singers whom we have admired in minor and supporting roles during the past year the opportunity to step into the spotlight.

Glyndebourne's Strauss Der Rosenkavalier, BBC Proms

Many words have already been spent - not all of them on musical matters - on Richard Jones’s Glyndebourne production of Der Rosenkavalier, which last night was transported to the Royal Albert Hall. This was the first time at the Proms that Richard Strauss’s most popular opera had been heard in its entirety and, despite losing two of its principals in transit from Sussex to SW1, this semi-staged performance offered little to fault and much to admire.

Il turco in Italia at the Aix Festival

Twenty years ago stage director Christopher Alden introduced Rossini’s then forgotten comedy to Southern California audiences in a production that is still remembered. In Aix Alden has revisited this complex work that many critics now consider Rossini’s greatest comedy.

First Night of the BBC Proms : Elgar The Kingdom

The BBC Proms 2014 season began with Sir Edward Elgars The Kingdom (1903-6). It was a good start to the season,which commemorates the start of the First World War. From that perspective Sir Andrew Davis's The Kingdom moved me deeply.

Le nozze di Figaro, Munich

One is unlikely to come across a cast of Figaro principals much better than this today, and the virtues of this performance indeed proved to be primarily vocal.

Winterreise and Trauernacht at the Aix Festival

That’s A Winter’s Journey and A Night of Mourning for metteurs-en-scène William Kentridge (South Africa) and Katie Mitchell (Great Britain), completing the clean sweep of English language stage directors for the Aix Festival productions this year.

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):