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

The Rose and the Ring

Published in 1855 as an entertainment for his two daughters, William Makepeace Thackeray’s The Rose and the Ring is a burlesque fairy-tale whose plot — to the author’s wilful delight, perhaps — defies summation and elucidation.

The Lighthouse at San Francisco’s Opera Parallèle

What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.

King’s Consort at Wigmore Hall

I suspect that many of those at the Wigmore Hall for The King’s Consort’s performance of the La Senna festeggiante (The Rejoicing Seine) were lured by the cachet of ‘Antonio Vivaldi’ and further enticed by the notion of a lover’s serenade at which the generic term ‘serenata’ seems to hint.

Kathleen Ferrier Awards 2016

Having enjoyed superb singing by a young cast of soloists in Classical Opera’s UK premiere of Jommelli’s Il Vogoleso the previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final at the Wigmore Hall confirmed the strength and depth of talent possessed by the young singers studying in and emerging from our academies and conservatoires.

Pacific Opera Project Recreates Mozart and Salieri Contest

On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.

Powerful chemistry in La Cenerentola in Cologne

Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.

Tannhäuser: Royal Opera House, London

London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.

The Golden Cockerel in Düsseldorf

Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.

San Diego Opera Presents a Tragic Madama Butterfly

On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.

Simon Rattle conducts Tristan und Isolde

New Co-Production Tristan und Isolde with Metropolitan: Simon Rattle and Westbroek electrify Treliński’s Opera-Noir.

San Jose’s Smooth Streetcar Ride

In an operatic world crowded with sure-fire bread and butter repertoire, Opera San Jose has boldly chosen to lavish a new production on a dark horse, Andre Previn’s A Streetcar Named Desire.

Roméo et Juliette: Dutch National Opera and Ballet seal merger with leaden Berlioz

Choral symphony, oratorio, symphonic poem — Berlioz’s Roméo et Juliette does not fit into any mould. It has the potential to work as an opera-ballet, but incoherent storytelling and uninspired conducting undermined this production.

Donizetti : Lucia di Lammermoor, Royal Opera House

When Kasper Holten took the precaution of pre-warning ticket-holders that the Royal Opera House’s new production of Lucia di Lammermoor featured scene portraying ‘sexual acts’ and ‘violence’, one assumed that he was aiming to avert a re-run of the jeering and hectoring that accompanied last season’s Guillaume Tell. He even went so far as to offer concerned patrons a refund.

Five Reviews of Regina at Maryland Opera Studio

These are five very different reviews by students at the University of Maryland on its Opera Studio production of Regina — an interesting, informative and entertaining read . . .

Three Cheers for the English Touring Opera

‘Remember me, the one who is Pia;/ Siena made me, Maremma undid me.’ The speaker is Pia de’ Tolomei. She appears in a brief episode of Dante’s Divine Comedy (Purgatorio V, 130-136) which was the source for Gaetano Donizetti’s Pia de’ Tolomei - by way of Bartolomeo Sestini’s verse-novella of 1825.

Andriessen's De Materie at the Park Avenue Armory

"The large measure of formalism which forms the basis of De Materie does not in itself offer any guarantee that the work will be beautiful," says Dutch composer Louis Andriessen of his four-movement opera.

Falstaff Makes a Big Splash in Phoenix

On April 1, 2016, Arizona Opera presented Falstaff by Giuseppe Verdi (1813-1901) and Arrigo Boito (1842-1918) in Phoenix. Although Boito based most of his libretto on Shakespeare’s The Merry Wives of Windsor, he used material from Henry IV as well. Verdi wrote the music when he was close to the age of eighty. He was concerned about his ability at that advanced age, but he was immensely pleased with Boito’s text and decided to compose his second comedy, despite the fact that his first, Un giorno di regno, had not been successful.

Svadba in San Francisco

The brand new SF Opera Lab opened last month with artist William Kentridge’s staged Schubert Winterreise. Its second production just now, Svadba-Wedding — an a cappella opera for six female voices — unabashedly exposes the space in a different, non-theatrical configuration.

Benvenuto Cellini in Rome

One may think of Tosca as the most Roman of all operas, after all it has been performed at the Teatro Costanzi (Rome’s opera house) well over a thousand times since 1900. Though equally, maybe even more Roman is Hector Berlioz’ Benvenuto Cellini that has had only a dozen or so performances in Rome since 1838.

Handel : Elpidia - Opera Settecento

Roll up! A new opera by Handel is to be performed, L’Elpidia overo li rivali generosi. It is based upon a libretto by Apostolo Zeno with music by Leonardo Vinci - excepting a couple of arias by Giuseppe Orlandini and, additionally, two from Antonio Lotti’s Teofane (which the star bass, Giuseppe Maria Boschi , on bringing with him from the Dresden production of 1719).

OPERA TODAY ARCHIVES »

Performances

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):