Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.







Recently in Performances

René Pape, Joseph Calleja, Kristine Opolais, Boito Mefistofele, Munich

Arrigo Boito Mefistofele was broadcast livestream from the Bayerische Staatsoper in Munich last night. What a spectacle !

Calixto Bieito’s The Force of Destiny

The monochrome palette of Picasso’s Guernica and the mural’s anti-war images of suffering dominate Calixto Bieito’s new production of Verdi’s The Force of Destiny for English National Opera.

Morgen und Abend — World Premiere, Royal Opera House

The world premiere of Morgen und Abend by Georg Friedrich Haas at the Royal Opera House, London — so conceptually unique and so unusual that its originality will confound many.

Company XIV Combines Classic and Chic in an Exquisite Cinderella

Company XIV’s production of Cinderella is New York City theater at its finest. With a nod to the court of Louis the XIV and the grandiosity of Lully’s opera theater, Company XIV manages to preserve elements of the French Baroque while remaining totally innovative, and never—in fact, not once for the entire two and a half hour show—falls prey to the predictable. Not one detail is left to chance in this finely manicured yet earthily raw production of Cinderella.

Monteverdi by The Sixteen at Wigmore Hall

This was a concert where immense satisfaction was derived equally from the quality of musicianship displayed and the coherence and resourcefulness of the programme presented. In 1610, Claudio Monteverdi published his Vespro della Beata Vergine for soloists, chorus, and orchestra.

Dialogues des Carmélites Revival at Dutch National Opera

If not timeless, Robert Carsen’s production of Francis Poulenc’s Dialogues des Carmélites is highly age-resistant.

Ermanno Wolf-Ferrari: Le donne curiose

Ermanno Wolf-Ferrari was one of the Italian composers of the post-Puccini generation (which included Licinio Refice, Riccardo Zandonai, Umberto Giordano and Franco Leoni) who struggled to prolong the verismo tradition in the early years of the twentieth century.

Moby-Dick Surfaces in the City of Angels

On Saturday evening October 31, 2015, the Nantucket whaling ship Pequod journeyed to Los Angeles Opera and began its sixth voyage in the attempt to kill the elusive whale called Moby-Dick.

Great Scott at the Dallas Opera

Great Scott is a combination of a parody of bel canto opera and an operatic version of All About Eve. Beloved American diva Arden Scott (Joyce DiDonato), has discovered the score to a long-lost opera “Rosa Dolorosa, Figlia di Pompeii” and has become committed to getting the work revived as a vehicle for her. “Rosa Dolorosa” has grand musical moments and a hilariously absurd plot.

Schubert and Debussy at Wigmore Hall

The most recent instalment of the Wigmore Hall’s ambitious series, ‘Schubert: The Complete Songs’, was presented by soprano Lucy Crowe, pianist Malcolm Martineau and harpist Lucy Wakeford.

A Bright and Accomplished Cenerentola at Lyric Opera of Chicago

Gioachino Rossini’s La Cenerentola has returned to Lyric Opera of Chicago in a production new to this venue and one notable for several significant debuts along with roles taken by accomplished, familiar performers.

La Bohème, ENO

Back in 2000, Glyndebourne Touring Opera dragged Puccini’s sentimental tale of suffering bohemian artists into the ‘modern urban age’, when director David McVicar ditched the Parisian garrets and nineteenth-century frock coats in favour of a squalid bedsit in which Rodolfo and painter Marcello shared a line of cocaine under the grim glare of naked light bulbs and the clientele at Café Momus included a couple of gaudily attired transvestites.

Luigi Rossi: Orpheus

Just as Orpheus embarks on a quest for his beloved Eurydice, so the Royal Opera House seems to be in pursuit of the mythical music-maker himself: this year the house has presented Monteverdi’s Orfeo at the Camden Roundhouse (with the Early Opera Company in January), Gluck’s Orphée et Eurydice on the main stage (September), and, in the Linbury Studio Theatre, both Birtwistle’s The Corridor (June) and the Paris-music-hall style Little Lightbulb Theatre/Battersea Arts Centre co-production, Orpheus (September).

64th Wexford Festival Opera

Wexford Festival Opera has served up another thought-provoking and musically rewarding trio of opera rarities — neglected, forgotten or seldom performed — in 2015.

Christoph Prégardien, Schubert, Wigmore Hall London

Another highlight of the Wigmore Hall complete Schubert Song series - Christoph Prégardien and Christoph Schnackertz. The core Wigmore Hall Lieder audience were out in force. These days, though, there are young people among the regulars : a sign that appreciation of Lieder excellence is most certainly alive and well at the Wigmore Hall. .

The Magic Flute in San Francisco

How did it go? Reactions of my neighbors varied. Some left at the intermission, others remarked that they thought the singing was good.

La Vestale, La Monnaie, Bruxelles

In the first half of the 19th century, Spontini’s La Vestale was a hit. Empress Josephine sponsored its premiere, Parisians heard it hundreds of times, Berlioz raved about it and Wagner conducted it.

Shattering Madama Butterfly Stockholm

An intelligent updating and outstanding performance of the title role lead to a shattering climax in Puccini's Japanese opera

Theodora, Théâtre des Champs-Élysées

Handel’s genius is central focus to the new staging of Handel’s oratorio Theodora at Paris' Théâtre des Champs-Élysées.

Bostridge Sings Handel

1985 must have been a good year for founding a musical ensemble, or festival or organisation, which would have longevity.



Stuart Skelton as Parsifal [Photo by Richard Hubert Smith courtesy of English National Opera]
20 Feb 2011

Parsifal, ENO

This production retains a special place in my heart: its first outing in 1999 was my first Parsifal in the theatre. Saving up my student pennies, I made the journey not once but twice from Cambridge to London, was mightily impressed the first time and a little irritated the second.

Amfortas: Iain Paterson; Titurel: Andrew Greenan; Gurnemanz: Sir John Tomlinson; Klingsor: Tom Fox; Parsifal: Stuart Skelton; Kundry: Jane Dutton; First Knight: Adrian Dwyer; Second Knight: Robert Winslade Anderson; First Squire: Julia Sporsén; Second Squire: Stephanie Marshall; Third Squire: Christopher Turner; Fourth Squire: Michael Bracegirdle; Voice from Above: Amy Kerenza Sedgwick; First Group of Flowermaidens: Sarah-Jane Davies, Julia Sporsén, Helena Dix; Second Group of Flowermaidens: Meeta Ravel, Sarah Jane Brandon, Stephanie Marshall. Director: Nikolaus Lehnhoff; Associate Director: Dan Dooner; Designer: Raimund Bauer; Costumes: Andrea Schmidt-Futterer; Lighting: Duane Schuler; Choreography: Denni Sayers. Orchestra of the English National Opera; Chorus of the English National Opera and additional chorus (chorus master: Martin Merry); Mark Wigglesworth (conductor). Coliseum, London, Wednesday 16 February 2011.

Above: Stuart Skelton as Parsifal

All photos by Richard Hubert Smith courtesy of English National Opera


Even though I began to harbour doubts about some aspects of Nikolaus Lehnhoff’s production, above all its ending, it remains preferable to many I have seen in the meantime. Stefan Herheim’s astounding Bayreuth version stands in a class of its own. Leaving that aside, however, Lehnhoff is immeasurably superior, say, to the pitiful, incoherent offeringsfrom Klaus Michael Grüber for Covent Garden — why on earth did the Royal Opera revive a universally derided non-production? — or Bernd Eichinger’s confused effort for the Berlin State Opera, let alone glimpses of Tony Palmer’s cod-mediævalism for the Mariinsky. Lehnhoff’s conception, powerfully aided by Raimund Bauer’s stage designs, stands very much in the shadow of the Holocaust, taking as a further, generally productive cue the Waste Land’s ‘heap of broken images’. Apposite both to Wagner’s drama ‘in itself’ and to how we may now feel compelled to consider it, we encounter in the first act a community clearly in need of rejuvenation; by the time of the third act, much has turned to rubble and stone, it not being clear until the end whether there should remain any hope at all, even under Parsifal, of that rejuvenation. The second act seems less sure of itself, its abiding images being the bizarre costumes Andrea Schmidt-Futterer allots to Klingsor (weirdly space-age) and Kundry (a strange chrysalis, out of and into which she awkwardly squeezes herself). But compared to the horrors of Grüber’s Covent Garden production, we perhaps should not concern ourselves unduly with that. What the whole lacked, I thought, was more incisive direction on stage, doubtless a consequence of Lehnhoff’s absence through illness: there was more than the occasional hint of a routine ‘revival’, a great pity given the ideas presented.

The broken railway line present during the whole of the third act is a powerful ‘broken image’, presumably intended to refer to Auschwitz. But what is being said there? That the variety of revival offered by the community’s new leader leads to racial rather than Schopenhauerian annihilation? That would be wrong-headed in the extreme, but a point of view at least, yet it seems undercut by the joy with which Kundry — she does not die — and Parsifal begin their journey along the line. The implication seems to be that they are wandering off to initiate a sexual relationship: bewildering, and arguably offensive, in the production’s context. The production, understandably, appears to waver between a quasi-Adornian attempt to ‘rescue’ Wagner and a desire to condemn him. Part of the reason, I suspect, why this conundrum presents itself is the production’s absolute refusal to engage with the work’s complex relationship towards Christianity. (I should direct anyone interested in my thoughts on the latter to an article in The Wagner Journal, 3/3, pp.29-59.) Simply to ignore the issue seems to me an unduly easy way out. And yes, that includes the deflating absence of any substitute for the second-act Sign of the Cross; text and music cry out for something, whatever it might be.

Mark Wigglesworth’s conducting was for the most part something to savour. Parsifal is by any standards a tough proposition, but the structure was largely in place, most impressively of all in the first act, which opened with a beautifully slow yet sustained prelude. The third act occasionally dragged: not a matter of tempo as such, but of faltering line; however, I should not wish to exaggerate. The score’s dialectic between horizontal and vertical demands was more surely navigated than I have often heard. Moreover, the ENO orchestra gave perhaps the finest performance I have ever heard from it; I have certainly never heard it finer. Strings had weight, sweetness, and silkiness, as required, whilst the rounded tone of the brass, sepulchral and never brash, proved exemplary.

Parsifal_Stuart_Skelton_Jane_Dutton_3_credit_Richard_Hubert_Smith.pngStuart Skelton as Parsifal and Jane Dutton as Kundry

Allowances had to be made for some of the vocal portrayals — and for almost all of Richard Stokes’s English translation. The latter is doubtless an horrendously difficult task to undertake, but some of the inaccuracies — why change a gander to a ‘duckling’, making nonsense of the relationship to a goose? — and banalities could surely have been improved upon. Choral singing was generally very good. Jane Dutton’s Kundry was sadly below par; one could only regret the absence, owing to ‘artistic differences’, of the originally advertised Iréne Theorin. Sir John Tomlinson’s voice is becoming increasingly threadbare at the top, but there was no denying the overall majesty of his Gurnemanz, however impoverished the great narrations may have been by the act of translation. Iain Paterson had a slightly shaky start as Amfortas, but recovered well, soon erasing unfortunate memories of his bizarre miscasting by ENO as Don Giovanni; here, instead, we had a typically detailed response to text and music, and a credible dramatic assumption, for the most part finely acted on stage. Tom Fox and Andrew Greenan made their respective marks without blemish as Klingsor and Titurel, both rising vocally above the handicap of their strange costumes. Stuart Skelton displayed a fine Heldentenor in the title role, very much in the baritonal, ‘Bayreuth’ tradition. As with many of the best exponents of the role, he left one initially a little disappointed, an apparent disappointment rectified by the appreciation of dramatic strategy: the first act Parsifal should sound somewhat vacant, in order to allow for the extraordinary development the character undergoes. (Even ‘extraordinary’ is to put it mildly.) The voice lacks nothing in power; if anything, the thought occurred that it might have benefited from a larger space.

Parsifal_Iain_Patterson_Adrian_Dwyer_Robert_Winslade_Anderson_2_.pngIain Patterson as Amfortas, Adrian Dwyer as First Knight and Robert Winslade Anderson as Second Knight

Indeed, I still wonder whether a theatre other than the Bayreuth Festspielhaus is a suitable venue for staging Parsifal at all: not out of misplaced ‘Bayreuth Idealist’ piety, but rather because I think other, non-theatrical spaces, from Siena Cathedral to the Tate Modern Turbine Hall, might prove much more appropriate. A work that has so far transcended the narrow horizons of the Italianate opera house — or, in the case of the Coliseum case, the music hall! — jars somewhat in such a setting. Whether one considers that jarring productive may be a matter of taste, however, and the problem, such as it is, is not ENO’s alone; far from it.

Mark Berry

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):