Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Leoncavallo's Zazà at Investec Opera Holland Park

The make-up is slapped on thickly in this new production of Leoncavallo’s Zazà by director Marie Lambert and designer Alyson Cummings at Investec Opera Holland Park.

McVicar’s Enchanting but Caliginous Rigoletto in Castle Olavinlinna at Savonlinna Opera Festival

David McVicar’s thrilling take on Verdi’s Rigoletto premiered as the first international production of this Summer’s Savonlinna Opera Festival. The scouts for the festival made the smart decision to let McVicar adapt his 2001 Covent Garden staging to the unique locale of Castle Olavinlinna.

Jette Parker Young Artists Summer Performance at Covent Garden

The end of the ROH’s summer season was marked as usual by the Jette Parker Young Artists Summer Performance but this year’s showcase was a little lacklustre at times.

Sallinen’s Kullervo is Brutal and Spectacular Finnish Opera at Savonlinna Opera Festival

For the centenary of Finland’s Independence, the Savonlinna Opera Festival brought back Kari Heiskanen’s spectacular 1992 production of Aulis Salinen’s Kullervo. The excellent Finnish soloists and glorious choir unflinchingly offered this opera of vocal blood and guts. Conductor Hannu Lintu fired up the Savonlinna Opera Festival Orchestra in Sallinen’s thrilling music.

Kát’a Kabanová at Investec Opera Holland Park

If there was any doubt of the insignificance of mankind in the face of the forces of Nature, then Yannis Thavoris’ design for Olivia Fuchs production of Janáček’s Kát’a Kabanová - first seen at Investec Opera Holland Park in 2009 - would puncture it in a flash, figuratively and literally.

A bel canto feast at Cadogan Hall

The bel canto repertoire requires stylish singing, with beautiful tone and elegant phrasing. Strength must be allied with grace in order to coast the vocal peaks with unflawed legato; flexibility blended with accuracy ensures the most bravura passages are negotiated with apparent ease.

Don Pasquale: a cold-hearted comedy at Glyndebourne

Director Mariame Clément’s Don Pasquale, first seen during the 2011 tour and staged in the house in 2013, treads a fine line between realism and artifice.

Billy Budd Indomitable in Des Moines

It is hard to know where to begin to praise the peerless accomplishment that is Des Moines Metro Opera’s staggeringly powerful Billy Budd.

Tannhäuser at Munich

Romeo Castellucci’s aesthetic — if one may speak in the singular — is very different from almost anything else on show in the opera house at the moment. That, I have no doubt, is unquestionably a good thing. Castellucci is a serious artist and it is all too easy for any of us to become stuck in an artistic rut, congratulating ourselves not only on our understanding but also,  may God help us, our ‘taste’ — as if so trivial a notion had something to do with anything other than ourselves.

Des Moines Answers Turandot’s Riddles

With Turandot, Des Moines Metro Opera operated from the premise of prima la voce, and if the no-holds-barred singing and rhapsodic playing didn’t send shivers down your spine, well, you were at the wrong address.

Maria Visits Des Moines

With an atmospheric, crackling performance of Astor Piazzolla’s Maria de Buenos Aires, Des Moines Metro Opera once again set off creative sparks with its Second Stage concept.

Die schöne Müllerin: Davies and Drake provoke fresh thoughts at Middle Temple Hall

Schubert wrote Die schöne Müllerin (1824) for a tenor (or soprano) range - that of his own voice. Wilhelm Müller’s poems depict the youthful unsophistication of a country lad who, wandering with carefree unworldliness besides a burbling stream, comes upon a watermill, espies the miller’s fetching daughter and promptly falls in love - only to be disillusioned when she spurns him for a virile hunter. So, perhaps the tenor voice possesses the requisite combination of lightness and yearning to convey this trajectory from guileless innocence to disenchantment and dejection.

World Premiere of Aulis Sallinen’s Castle in the Water Savonlinna Opera Festival

For my first trip to Finland, I flew from Helsinki to the east, close to the border of Russia near St. Petersburg over many of Suomi’s thousand lakes, where the summer getaway Savonlinna lays. Right after the solstice during July and early August, the town’s opera festival offers high quality productions. In this enchanting locale in the midst of peaceful nature, the sky at dusk after the mesmerising sunset fades away is worth the trip alone!

Mozart and Stravinsky in Aix

Bathed in Mediterranean light, basking in enlightenment Aix found two famous classical works, Mozart’s Don Giovanni and Stravinsky’s The Rake’s Progress in its famous festival’s open air Théâtre de l’Archevêche. But were we enlightened?

Des Moines: Nothing ‘Little’ About Night Music

Des Moines Metro Opera’s richly detailed production of Sondheim’s A Little Night Music left an appreciative audience to waltz home on air, and has prompted this viewer to search for adequate superlatives.

Longborough Festival Opera: A World Class Tristan und Isolde in a Barn Shed

Of all the places, I did not expect a sublime Tristan und Isolde in a repurposed barn in the Cotswolds. Don’t be fooled by Longborough’s stage without lavish red curtains to open and close each act. Any opera house would envy the riveting chemistry between Peter Wedd and Lee Bisset in this intimate, 500 seat setting. Conductor Anthony Negus proved himself a master at Wagner’s emotional depth. Epic drama in minimalistic elegance: who needs a big budget when you have talent and drama this passionate?

The Royal Concertgebouw Orchestra throws a glossy Bernstein party

For almost thirty years, summer at the Concertgebouw has been synonymous with Robeco SummerNights. This popular series expands the classical concert formula with pop, film music, jazz and more, served straight up or mixed together. Composer Leonard Bernstein’s versatility makes his oeuvre, ranging from Broadway to opera, prime SummerNight fare.

Die Frau ohne Schatten at Munich

It was fascinating to see — and of course, to hear — Krzysztof Warlikowsi’s productions of Die Gezeichneten and Die Frau ohne Schatten on consecutive nights of this year’s Munich Opera Festival.

Dulwich Opera’s Carmen

Dulwich Opera Company’s Carmen was a convincingly successful show.  This was mainly due to succinct musical direction and rigorous dramatic direction.  It also meant that the proximity of the action was a fascinating treat, and by the artists being young, and easy on the eye.

Franz Schreker: Die Gezeichneten

There is a host of fine operas out there languishing more or less unperformed (in some cases, quite unperformed). A few of them might even qualify as ‘great’. (Feel free to remove inverted commas, should that be your thing.) Franz Schreker’s Die Gezeichneten, whatever its proponents might claim, is certainly not one of those: not even close.

OPERA TODAY ARCHIVES »

Performances

James Maddalena as Richard Nixon in Adam's
07 Feb 2011

Nixon in China, New York

Preparing for the Met premier of Nixon in China, I resolved to forget—or place on hold—everything I remembered, or thought I remembered, about the real persons who are characters in this opera,

John Adams: Nixon in China

Chou En-lai: Russell Braun; Nancy T’ang: Ginger Costa-Jackson; Richard Nixon: James Maddalena; Pat Nixon: Janis Kelly; Kissinger/Corrupt Landowner: Richard Paul Fink; Mao Tse-tung: Robert Brubaker; Chiang Ch’ing (Madame Mao): Kathleen Kim. Metropolitan Opera Chorus and Orchestra, conducted by John Adams. Performance of February 2.

Above: James Maddalena as Richard Nixon

All photos by Ken Howard courtesy of Metropolitan Opera

 

to convince myself I knew no more about them than I do about, say, the Doges of Genoa or the Kings of Sweden (to recall other operas that mingle the political with the personal), and to attempt to appreciate the drama presented on stage, the music emanating from it (far too much of it coming through microphones), on that disinterested level.

This made for an intriguing but confusing evening: I suspect composer John Adams and his librettist, Alice Goodman, actually do want you to dwell on your recollections of Nixon, Mao, et al., to allow these to color their operatic take on events. Nixon is a meditation on the events of its era through the medium of opera, which is a new sort of focus to put on the form.

Nixon in China is not my kind of opera, but let us examine what kind of opera it is, and why the audience at the Met’s premiere—and at its earlier performances, in Houston, Brooklyn and around the world—have received it with enthusiasm.

There were, first of all, the performances, and for so many performances to delight an audience for three and a half hours argues that the composer has created parts that can be inventively sung, that give scope to the artist and joy to the listener. (This was not the case in the same composer’s Dr. Atomic, with its unconvincing dramatic trajectory and sidelong meditations.) True, all the singers were mic’d, at the composer’s insistence, as in all his operas, but some of them sounded mic’d and others—especially the women—did not.

Kathleen Kim as Madame Mao stole the show with her coloratura flights in the bravura number that concludes Act II, and was amusing in her down-and-dirty duet with the Chairman. Robert Brubaker, as Mao, sang rather too forcefully for a man tottering on the brink of the grave, brusquely demolishing every attempt at flattery offered him by the unconvincing Americans. (In an amusing touch, his statements are “translated” by three secretaries, producing just about the only vocal harmonies of the evening.) Janis Kelly as Pat Nixon was affectingly hopeful, singing almost conversationally, enduring the tedium of a First Lady’s tour and an unemotional marriage in an appealing, almost tragic performance. Richard Paul Fink made a deliciously sinister pixie of Henry Kissinger and also sang the brutal landlord figure in a Chinese Revolutionary opera. Russell Braun sang a fading, dignified, melancholy Chou En-lai. Only James Maddalena, who has sung the title role in most performances of the opera since its premiere in 1987, sounded, on his Met debut, either long past major roles or under a severe unannounced cold. All these except Mr. Maddalena held our attention, sinking their teeth into roles the composer had filled with juicy meat. There is not much in this opera of confrontation, of music that erupts from vocal interaction; it is, rather, a series of static narratives, drama almost in the Handelian manner, singing heads for talking heads, if you will.

For me, though, the vocal stars of the performance were the Met chorus, which has been extraordinary in everything for the last couple of years. Their pronunciation of words was especially crisp and clear, their enthusiasm of mood infectious when, say, abruptly transformed from Party guests to pig farmers. I think I’d enjoy the Met chorus if they were singing the phonebook. The Chinese phonebook.

NIXON_Act_1_scene_4195a.gifJanis Kelly as Pat Nixon, Teresa S. Herold as the Second Secretary to Mao, James Maddalena as Richard Nixon, Ginger Costa Jackson as the First Secretary to Mao, Russell Braun as Chou En-lai

The Peter Sellars production is very faithful to those shots I dimly remember of the original telecast of an earlier Sellars production. Those who saw Nixon in Brooklyn twenty years ago do not recall that Pat and Dick became so involved in the “Wicked Landlord Whips Peasant Girl” ballet in the Peking Opera scene, to the point of interfering with the characters onstage, but by that point in the story the naturalism of the first half of the opera was beginning to evaporate, borne on the wings of Adams’s repetitive, hypnotic accompaniments to unheard melodies. His mastery of suggestion became especially witty in the last act, the presentation of a row of beds occupied by all the characters as they suffer, chat, hallucinate, meditate, have sex or die: Pat recollects the dance music of forties films (two dancers oblige by reproducing such steps—Mark Morris created the witty choreography) and the orchestra plays no such tune but, rather, the tingling accompaniment that might lie beneath it, suggesting a step or a mood of elegance such as might linger in Pat’s mind from those forgotten, forgettable films and their hallucinations of romance. This in turn leads to a highly erotic reverie for the dying Mao and Chiang Ch’ing, whose marriage, however bloody it has become (and if we did not know all the hideous details twenty-five years ago, we certainly know them now), was once based upon a lustful and illicit affair, recalled joyously here.

The curious thing is that the audience for three or four hours of classical entertainment has come to delight in this sort of tableau, this elevation of the humans we have actually known to an archetypal status, and that opera is today considered the proper accolade to the achievement of a certain sort of celebrity, political or otherwise. This makes one wonder what opera, what singing rather than living, now implies to us. In the eighteenth century, operas seldom dealt with historical figures, and those that did dealt with ancient ones—Caesar, Cleopatra, Alfred the Great—in whom the monarchs of the day could see their own powers idealized, virtue rewarded, villainy dissipated. In the nineteenth century, when the bourgeois came to power, historical figures were shown in a lurid light, tainted by their power—and if they were not quite so antique, still, they were seldom closer in time than the previous century.

NIXON_Brubaker_and_Maddalen.gifRobert Brubaker as Mao Tse-tung and James Maddalena as Richard Nixon

Since World War II, especially in the United States, the operatic gift that has never quite seemed rooted in our soil has flowered into operatic treatments of Susan B. Anthony, Lizzie Borden, Carrie Nation, Malcolm X, Harvey Milk and J. Robert Oppenheimer—with Anna Nicole Smith soon to come. Whatever Ms. Smith’s charms, her celebrity seems of the most tendentious sort. Does anything about it call for gorgeous celebration? Is the whole idea not a spoof of opera to begin with? Do any of these pieces have the potential for a theatrical life removed from our memories of headlines? Yes: Susan B. Anthony had the luck to have an opera of genius written about her, The Mother of Us All. But the other works did not deal in archetypes; they are the musical equivalent of reportage, their substance gone once half the audience no longer knows what Nixon actually did. Modern celebrity opera is a sort of oral history if you like.

Returning to Nixon in China, one should mention that the piece was conducted by the composer, making his house debut, and that on several occasions it seemed to me that brasses and saxophones intruded a bit off-kilter and that certain rhythms were ragged—but I do not know the score well enough to be sure these moments were not intentional. There were moments of magic, especially in the “Peking Opera” ballet, and the final act was very beautiful, an extended concerted passage that never quite concerted: Nearly all the singers continued to sing alone, perhaps stressing their isolation in the drama, in the world. Or perhaps that was not the intent.

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):