15 Feb 2011
The Chill of Grace: A Winter Weekend at COC
At the moment, it seems inevitable that John Adams’ 1987 opera Nixon in China will become a fixture in the repertoire.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no less than seven concerts in this season’s NTR ZaterdagMatinee series feature works by Adams, including this concert version of his first opera, Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the Royal Concertgebouw, Daniele Gatti, came together for their first engagement in a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and Wiener Philharmoniker, to hear these three top orchestra perform their series programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.
One of Aidan Lang’s first initiatives as artistic director of Seattle Opera was to encourage his board to formulate a “mission statement” for the fifty-year old company. The document produced was clear, simple, and anodyne. Seattle Opera would aim above all to create work appealing both to the emotions and reason of the audience.
Contrary to Stolzi’s multidimensional Parsifal, Holten’s simple setting of Lohengrin felt timeless with its focus on the drama between characters. Premiering in 2012, nothing too flashy and with a clever twist,
Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner productions. This Fall, its productions of Philipp Stölzl's Parsifal and Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it comes down to last minute replacements, the casting is topnotch.
Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.
At the moment, it seems inevitable that John Adams’ 1987 opera Nixon in China will become a fixture in the repertoire.
James Robinson’s stylish and imaginative production from 2004, revived this season by the Canadian Opera Company, illustrates that this opera indeed has a life beyond that imagined by its creators. In fact, viewing Robinson’s Nixon in quick succession with creator Peter Sellars’ recent restaging at the Metropolitan Opera confirms the impression from 2004 that this opera will provide inspiration for creative teams for generations to come. In the instance of Robinson’s production (originally designed for Opera Theatre of Saint Louis), the integrative video design revolutionizes the use of projections within opera by timing visual sequences so intimately with the music that the result is practically a new visual libretto. The chosen images are astute as well as visually stunning, as in the top of Act II when static on the television screens created a snowy landscape. The televisions themselves were used as modular architecture throughout the opera; descending from the sky en mass, acting as a dais for speeches, and evoking individual spaces (perhaps even headboards) for each of the characters during Act III.
Marisol Montalvo as Chiang Ch’ing (Madam Mao) (front) and Megan Latham as Third Secretary to Mao (behind)
Robinson, his design team, and the cast have struck a fine balance that divides the story-telling between the live action onstage and the use of video while simultaneously blurring the distinctions between the two elements. At times, the characters strike poses as if captured within a snapshot and these moments of heightened realism integrate beautiful with the meta-commentary both on the screens and built into Adams’ score. Furthermore, despite the inherent challenge of portraying historical figures, the majority of the cast does an excellent job of breathing inner life into what could become caricatures. Robert Orth could scarcely act the role of Nixon better, but he could have afforded to sing with more beauty of tone at least some of the time. In particular, the moment when Nixon speaks of fathers and sons joining hands in peace would have been even more effective had Orth sung more like a baritone and less like a president. As the Chinese Prime Minister Chou En-lai, Chen-Ye Yuan was quietly compelling from the very beginning through the opera’s haunting last line.
Like the real Henry Kissinger, Thomas Hammons was a strange mixture of enigmatic power and allure. He also seemed to embrace his role as Lao Szu within the ballet with real gusto. Maria Kanyova found both the lyrical and coquettish moments as Pat Nixon and her diction was impressive throughout. Her middle voice could be more attractive, but her floated top notes were so easily suspended that it seemed a shame for conductor Pablo Heras-Casado to rush through them. As Mao Tse-tung and his wife Chiang Ch’ing, Adrian Thompson and Marisol Montalvo were both committed dramatically but lacked the vocal goods to back up what could have been splendid performances.
Adrian Thompson as Mao Tse-tung, Chen Ye-Yuan as Chou En-lai and Robert Orth as Richard Nixon
Even though most of the action onstage was well synchronized with Adam’s music, there were several moments of dynamic imbalance between the orchestra and the singers that cannot be attributed to the use of amplification in Adam’s score. Rather, the orchestra was plagued by imprecise playing and pacing throughout, which became distracting and detracted from Adam’s astute choices of orchestration. That said, the chorus was impeccably rehearsed by Sandra Horst and it seems very likely that some of the musical missteps will be corrected during the course of the run.
The lighting by Paul Palazzo was some of the most effective work I have ever seen in any theatre — ranging from the eerie glow of an unseen television flickering on the faces of the typical American family to use of Chinese lanterns on the television screens as a light source. Allen Moyer’s set design provided several layers of visual and semiotic interest, especially for Pat Nixon’s tour of sites during Act II, and James Schuette’s costumes were rhetorically effective while maintaining a strong sense of the opera’s place and time.
Isabel Bayrakdarian as Pamina and Michael Schade as Tamino
Ultimately, the success of Saturday evening’s performance was largely due to Robinson’s creative staging which faced the challenges of the libretto while allowing the quality of the music to speak for itself. In this respect, Diane Paulus’ new production of Mozart’s Die Zauberflöte was an entirely fitting companion piece for Nixon in China. Paulus reimagined the opera’s action taking place on the grounds of a beautiful 18th century estate as an entertainment on the occasion of the name day of Pamina. The resulting play-within-a-play scenario worked incredibly well for the first half of the opera. The staging of the overture introduced the new framework of Mozart’s familiar characters with uncanny clarity. Papageno took charge of last-minute rehearsals with some of the estate’s ruder mechanicals while Sarastro, as lord of the manor, oversaw the entire operation.
From the moment the curtain went up, the cast embraced their dual roles as characters within the festivities and their “real life” counterparts. Betty Waynne Allison, Wallis Giunta, and Lauren Segal were as strong individually as they were as a trio. Rather than portraying Tamino as a bland hero, tenor Michael Schade embraced the ambiguity of his role. He sang and acted like a lover and prince (even to the point of being overly precious vocally) but occasionally revealed a more human impatience or even harshness. Rodion Pogossov and Lisa DiMaria were ideally matched as Papageno and Papagena. They were both as generous with their vocalism and musicality as they were with their spirited comedic performances. Isabel Bayrakdarian may not have been ideally cast as Pamina, but her acting had the strength of purpose and conviction necessary to turn the role into the opera’s true heroine. As her mother, Aline Kutan delivered a one-two punch with the Queen of the Night’s arias that won’t soon be forgotten.
Lauren Segal as the Third Lady, Wallis Giunta as the Second Lady, Betty Waynne Allison as the First Lady and Michael Schade as Tamino (lying down)
House Music Director Johannes Debus led the orchestra in a brisk and lively performance. With the exception of a slightly scrappy final chorus, the choristers were as excellent as they had been the night before. Furthermore, Paulus’ new context for the opera finally allowed for a female chorus contingent that didn’t seem totally superfluous to the action. The production’s concept was not as fully realized in the second half, but the significant strengths of Act I and the pure charm throughout (enhanced at every turn by set and costume designer Myung Hee Cho) made the production a joy to behold.
As for the Canadian Opera Company itself, to paraphrase Alice Goodman’s excellent, beguiling libretto for Nixon in China, how much of what they did last weekend was good? Most of it was good, and some of it was even great.