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 Reviews

La Bohème, Manitoba

Manitoba Opera’s first production in nine years of Giacomo Puccini’s La Bohème still stirs the heart and inspires tears with its tragic tale of bohemian artists living — and loving — in 1840s Paris.

Arizona Opera Presents Don Pasquale in Tucson

On April 12, 2014, Arizona Opera opened its series of performances of Donizetti's Don Pasquale in Tucson. Chuck Hudson’s production of this opera combined Commedia dell’arte with Hollywood movie history.

Will Don Quichotte Be the Last Production at San Diego Opera?

This quotation from Cervantes was displayed before the opening of the opera’s final scene:

“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”

Gound Faust - Calleja and Terfel, Royal Opera House London

Gounod's Faust makes a much welcomed return to the Royal Opera House. With each new cast, the dynamic changes as the balance between singers shifts and brings out new insights. In that sense, every revival is an opportunity to revisit from new perspectives. This time Bryn Terfel sang Méphistophélès, with Joseph Calleja as Faust - stars whose allure certainly helped fill the hall to capacity. And the audience enjoyed a very good show.

Syracuse Opera’s Porgy and Bess
Got Plenty O’ Plenty

The company ends its 2013-14 season on a high note with a staged performance of Gershwin’s theatrical masterpiece

A New Rusalka in Chicago

Lyric Opera of Chicago’s new production of Antonin Dvorak’s Rusalka is visually impressive and fulfills all possible expectations musically with unquestioned excitement.

Karlsruhe’s Mixed Blessing Ballo

The reliable Badisches Staatstheater has assembled plenty of talent for its new Un Ballo in Maschera.

Louise Alder, Wigmore Hall

This varied, demanding programme indisputably marked soprano Louise Alder as a name to watch.

Luke Bedford: Through His Teeth, Linbury, Royal Opera House

Can this be the best British opera in years? Luke Bedford’s Through His Teeth at the Royal Opera House’s Linbury Theatre is exceptional. Drop everything and go.

Powder Her Face, ENO

As one descends the steel steps into the cavernous bunker of Ambika P3, one seems about to enter rather insalubrious realms — just right one might imagine, then, for an opera which delves into the depths of the seedier side of celebrity life.

Iphigénie Fascinates in the Pfalz

Kaiserslautern’s Pfalztheater has produced a tantalizing realization of Gluck’s Iphigénie en Aulide, characterized by intriguing staging, appealing designs, and best of all, superlative musical standards.

ROH presents Cavalli’s L’Ormindo at the Sam Wanamaker Playhouse, London

Never thought I’d say it but......

Harrison Birtwistle, Elliott Carter, Wigmore Hall, London

Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.

Requiem for a Lost Opera Company

On Wednesday, March 19, 2014, General Director Ian Campbell of San Diego Opera announced that the company would go out of business at the end of this season. The next day the company performed their long-planned Verdi Requiem with a stellar cast including soprano Krassimira Stoyanova, mezzo-soprano Stephanie Blythe, tenor Piotr Beczala, and bass Ferruccio Furlanetto.

The Met’s Werther a tasty mix of singing, staging, acting and orchestral splendor

Visual elements in Richard Eyre’s striking production offset Massenet’s melodic shortcomings

Chicago’s New Barber of Seville

New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.

Lucia in LA: A Performance to Remember

On March 15, 2014, Los Angeles Opera presented Elkhanah Pulitzer’s production of the opera, which she set in 1885 when women were beginning to be recognized as persons separate from their fathers, brothers and husbands. At that time many European countries were beginning to allow women to own property, obtain higher education, and choose their husbands.

San Diego Opera Presents an All Star Ballo in Maschera

On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.

Anne Schwanewilms, Wigmore Hall

From the moment she walked, resplendent in red, onto the Wigmore Hall platform, Anne Schwanewilms radiated a captivating presence — one that kept the audience enthralled throughout this magnificent programme of Romantic song.

Die Frau ohne Schatten, Royal Opera

Magnificent! Following the first night of this new production of Die Frau ohne Schatten, I quipped that I could forgive an opera house anything for musical performance at this level, whether orchestral, vocal, or, in this case, both.

OPERA TODAY ARCHIVES »

Reviews

15 Feb 2011

Werther in Lyon

Massenet tells us that his Werther is 23 years old, that Charlotte is 20 years old. Albert is 25 and Sophie is but 15. Just now the Lyon Opera assembled just such a cast.

Jules Massenet: Werther

Arturo Chacon-Cruz: Werther; Karine Deshayes: Charlotte; Lionel Lhote: Albert; Alain Vernhes: Le Bailli; Anne-Catherine Gillet: Sophie; Jean-Paul Fouchécourt: Schmidt; Nabil Suliman: Johann; Marie-Laure Cloarec: Kätchen; Grégory Escolin: Bruhlmann; Orchestre et Maîtrise de l'Opéra de Lyon. Direction musicale: Leopold Hager; Mise en scène: Rolando Villazòn; Décors: François Séguin; Costumes: Thibault Vancraenenbroeck; Lumières: Wolfgang Goebbel; Mise en mouvement: Nola Rae.

All photos by Michel Cavalca courtesy of Opéra de Lyon

 

This unusual casting was the crucial element of an astonishing concept production. Director Rolando Villazón mined the delicate moments of transition between childhood, adolescence and the first revelatory moments of maturity that he divined in The Sorrows of Young Werther. Goethe himself could not argue with Mr. Villazón.

The delicacy of Mr. Villazón's concept was exacerbated by his metaphor. The action of opera's most turgid tale was transferred to the big top — yes, a circus! and narrated in the language of clowning. If all this sounds off-putting, it was. For about three minutes. It became first fascinating, and finally convincing.

DSC_4132_werther_MCavalca.gifThe opera wore the concept well, Massenet's local drunks Schmidt and Johann were singing clowns (very good ones) and a couple of young town folk, Katchen and Bruhlmann, were in fact very real circus clowns. Mr. Villazón's clowns were always on or never far from the stage. They complicated the opera's world of childish delights — Massenet's Yuletide begins and ends his opera — by framing the opera's story with the sadness that is inherent in all clowns. They also imposed a blatantly simple language of storytelling.

They cavorted as clowns do (Schmidt's teared clown-face hovered behind Charlotte as she delivered her Va, laisse couler mes larmes, marking its moments with his clown-hand miming). They exploited the clowning technique to use a simple prop to represent a fare more complicated image (a black dress for Charlotte's dead mother, and finally Werther's frock coat for the dying then dead Werther).

Two identical Werthers moved in simultaneous motions on the stage, one the 10-year-old child Werther, the other the Werther who now faces a different world. Mr. Villazón knows that Charlotte is the victim of the opera Werther, suffering the overwhelming forces of maternal love in conflict with nearly equal forces of romantic love. Werther himself has only to cope with the realization that Werther the child no longer exists, but it is Charlotte who must place his tiny frock coat into the small, coffin shaped box of clowning props.

The clowning metaphor was relentlessly pursued, not for a moment did the concept waiver within the appropriate decors designed by François Séguin — the big-top made of many masts supporting flowing cloth, cages, the toys clowns use and an abstracted harpsichord that mimed the church organ sounds of resigned and contented lives. Costume design by Thibault Vancraenenbroeck [sic] underscored the depth of the concept in its deft mixture of period costume and clowning tradition.

DSC_3293_werther_MCavalca.gif

This startling concept insisted that we hear this masterpiece as we never had heard it before. And that we did in a very present (loud) orchestral reading that magnified the scores more vivid colors. Austrian conductor Lionel Hager had obvious respect for the concept. He found inspired orchestral realization for the love that flowed though a long red, clown scarf pulled between the Charlotte and Werther. He brought a multitude of fortissimo climaxes to the outpourings of the young Werther. And no real gunshot shocked the musical torrent of the suicide (the gun was merely a prop from the box of toys).

Famed hautecontre tenor Jean-Paul Fouchecourt stole the clowning show as Schmid, well matched by Lyon Opera regular, Syrian baritone Nabil Suliman as Johann. Katchen and Bruhlmann (Marie-Laure Cloarec and Gregory Escolin) managed their few lines somehow and otherwise added artistic sheen as professional clowns. Mr.Escolin embodied yet a third Werther, this one a clown imprisoned in a cage.

Usually the province of a mature, read matronly, artist here Charlotte was gracefully embodied by young French mezzo soprano Karine Deshayes. She is a finished artist with a bright and vibrant voice, a revelation in this role. American tenor Arturo Chacón-Cruz substituted youth and good looks for the refinement associated with Massenet's singer (and Goethe's poet), and had an abundant supply of secure and powerful high notes to win over those not taken in by looks alone. Belgian baritone Lionel Lhote was a gentile, sympathetic young Albert not yet made hard by worldly success. Though obviously far from fifteen Belgian soprano Anne-Catherine Gillet nonetheless captured the accents of incipient adolescence far more than the usual vocal brilliance of Sophie, and this innocence made her endearing.

DSC_3966_werther_MCavalca.gif

Rolando Villazón is a tenor of enormous reputation, and obviously a man of directorial vision. At the same time much credit must go to the Opéra de Lyon for seeing this remarkable production through to the end and for adding exceptional polish to such a problemic endeavor.

Mr. Villazón is an admitted amateur clown. Let us hope he has not blown his directorial wad with this bizarre first production. And that he may have other hidden talents to theatrically exploit in future productions. Hopefully some daring opera house will find out.

Michael Milenski

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):