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

Dolora Zajick Premieres Composition

At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.

Gluck: Orfeo ed Euridice

This elegant, smartly-paced film turns Gluck’s Orfeo into a Dostoevskian study of a guilt-wracked misanthrope, portrayed by American countertenor Bejun Mehta.

Aureliano in Palmira in Pesaro

Ossia Il barbiere di Siviglia. Why waste a good tune.

Britten War Requiem - Andris Nelsons, CBSO, BBC Prom 47

In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.

Il barbiere di Siviglia in Pesaro

Both by default and by merit Il barbiere di Siviglia is the hit of the thirty-fifth Rossini Opera Festival. But did anyone really want, and did the world really need yet another production of this old warhorse?

Armida in Pesaro

Armida (1817) is the third of Rossini’s nine operas for the Teatro San Carlo in Naples, all serious. The first was Elisabetta, regina di Inghilterra (1815), the second was Otello (1816), the last was Zelmira (1822).

Santa Fe Opera Presents an Imaginative Carmen

Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.

Elgar Sea Pictures : Alice Coote, Mark Elder Prom 31

Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.

Berio Sinfonia, Shostakovich, BBC Proms

Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.

Four countertenors : Handel Rinaldo Glyndebourne

Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.

Santa Fe Opera Presents The Impresario and Le Rossignol

On August 7, 2014, the Santa Fe Opera presented a double bill of Wolfgang Amadeus Mozart’s The Impresario and Igor Stravinsky’s Le Rossignol (The Nightingale). The Impresario deals with the casting of an opera and Le Rossignol tells the well-known fairy tale about the plain gray bird with an exquisite song.

Barber in the Beehive State

Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.

Stravinsky : Oedipus Rex, BBC Proms

In typical Proms fashion, BBC Prom 28 saw Stravinsky's Oedipus Rex performed in an eclectic programme which started with Beethoven's Egmont Overture and also featured Electric Preludes by the contemporary Australian composer Brett Dean. Sakari Oramo,was making the first of his Proms appearances this year, conducting the BBC Symphony Orchestra, BBC Singers and BBC Symphony Chorus.

Santa Fe Opera Presents a Passionate Fidelio

Santa Fe Opera presented Beethoven’s Fidelio for the first time in 2014. Since the sides of the opera house are open, the audience watched the sun redden the low hanging clouds and set below the Sangre de Cristo mountains while Chief Conductor Harry Bicket led the Santa Fe Opera Orchestra in the rousing overture. At the same time, Alex Penda as the title character readied herself for the ordeal to come as she endeavored to rescue her unjustly imprisoned husband.

Die Entführung aus dem Serail @ Hangar-7

We see the characters first in two boxes at an opera house. The five singers share a box and stare at the stage. But Konstanze’s eye is caught by a man in a box opposite: Bassa Selim (actor Tobias Moretti), who stares steadily at her and broods in voiceover at having lost her, his inspiration.

Rameau Grand Motets, BBC Proms

Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17.

Adriana Lecouvreur, Opera Holland Park

Twelve years after Opera Holland Park's first production of Francesco Cilea’s Adriana Lecouvreur, the opera made a welcome return.

Back to the Beginnings: Monteverdi’s Il ritorno d’Ulisse in patria at Iford Opera.

The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre.

Schoenberg : Moses und Aron, Welsh National Opera, London

Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission.

Count Ory, Dead Man Walking
and La traviata in Des Moines

If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.

OPERA TODAY ARCHIVES »

Reviews

Heidi Melton as Ariadne [Photo by Frédéric Desmesure courtesy of Opéra National de Bordeaux]
06 Mar 2011

Ariadne auf Naxos, Bordeaux

Ariadne on Naxos, or you could call it Bacchus á Bordeaux. It was an orgy of art.

Le Majordome: Martin C. Turba; Ariane: Heidi Melton; Le Compositeur: Elza van den Heever; Le Maître de Musique: Olivier Zwarg; Le Maître à danser: Olivier Dumait; Scaramouche: François Piolino; Ténor/Bacchus: Arnold Bezuyen; Zerbinette: Brenda Rae; Harlequin: Thomas Dolié; Brighella: Xin Wang; Truffaldin: Andrey Zemskov; Naïade: Mélody Louledjian; L’Echo: Eve Christophe; Dryade: Leslie Davies; Le Laquais: Pascal Wintzner; Le Perruquier: David Ortéga; L’Officier: Olivier Bekretaoui. Direction musicale: Kwamé Ryan. Mise en scène: Roy Rallo. Décors: Marsha Ginsberg. Costumes: Doey Lüthi. Lumières: Christopher Akerlind.

Above: Heidi Melton as Ariadne

All photos by Frédéric Desmesure courtesy of Opéra National de Bordeaux

 

The opera’s prologue got us pretty concerned about exactly how the Strauss/von Hofmannsthal conceit (superimposing improvised comedy on high art tragedy) would play out. It was going to happen in some sort of distressed art space where some pretty bad art (a huge, plastic sculpture) had been lifted out to make space for more, we assumed, bad art (“performance art” is at least naughty if not usually bad).

But all this turned out to be a high flying artistic extravaganza. Its riches were three fold — first it is a big opera with three great roles for sopranos, second there were three great sopranos, and third Bordeaux gave the opera a mise en scène that played with its complexities and reveled in its fun.

Performance art is as close as we come these days to commedia dell’arte, so this transcription of art form was well taken, plus performance art seems to question the nature of art more than it questions anything else and this led metteur en scène Roy Rallo to probe the depths of this silly Strauss/von Hofmannsthal tragedia cum commedia and to find out that it is in fact a fairly serious artistic treatise.

The ubiquitous wreck of a cheap sofa that inhabits most performance spaces here headquartered Najade, Dryade and Echo in various prone positions while stage hands poured buckets of dirt over them, Ariadne was seated in the neon tube outlined sand box, with the remnant, a small head (remember the huge sculpture in the prologue), of a dog’s toy that was the minotaur, and Theseus too. Echo outlined the minotaur head on the ubiquitous performance space white wall during Ariadne’s lament, and later seconded the forceful horn announcements of Bacchus’ arrival with determined throws of her yoyo. More dirt was poured on Najade and Dryade.

When it was Zerbinetta’s turn in the sand box she sang her ravishing parody in nightclub garb only to be sexually ravaged by the comedians (painting her in lurid colors). When she became Harlequin’s wife in an American gothic tableau during Ariadne’s prayer we understood all too well that all this was the trappings of ordinary, everyday mortal love in contrast to the grandiose ideal of love sought by Ariadne.

Well, Bacchus arrived and we had Orpheus and Euridice all over again. In reverse. When their gaze finally met it was all over, Bacchus disappeared into the void (all the doors onto the stage burst open — out the back we even saw the building across the street) and Ariadne was left alone on the stage as the beat-up Zerbinetta with her sad Harlequin husband exited through a side door into a snow storm.

So, all this was art, but what about life? That was of course Strauss’ Composer who had a bitter artistic pill to swallow, though this young composer thought he had found a soul mate in Zerbinetta, and he poured his heart out about it, only to be first of the opera’s lovers to learn that true love is not to be had in this life. Just then there was a bonus: the Opéra National de Bordeaux enriched Strauss’ ridiculous concoction by superimposing an operatic whim of its own — real time, curtain calls onto the prologue!

Ariadne_ONB_02.gifHeidi Melton as Ariadne, Elza van den Heever as The Composer and Brenda Rae as Zerbinetta

Marsha Ginsberg gave detailed design to the sets, the dirty walls and chipped tiles of a very realistic building blurring the boundaries between art and real life, and costumer Doey Lüethi further complicated this distinction with real clothing that sometimes screamed character. Lighting by Chris Akerlind cannily intermixed the real and the arty, the flashing red and green lights during the opera’s final sublime love music reminding us that all this was, said and done, performance art confusing itself with art.

Yes, it took the considerable artistry of three exquisite sopranos to pull this off. Elza van den Heever (Composer), Heidi Melton (Ariadne) and Brenda Rae (Zerbinetta) are new generation artists with beautiful, fresh and well-schooled voices that illuminate amazing histrionic depth with elegant artistry. Mlle. van den Heever literally tore up the stage in her aria. Not to mention that Zerbinetta tore up the stage as well, standing motionless for her aria, and Heidi Melton brought real gravity to the opera’s opera, sitting with her back against the wall, her legs splayed downstage, her voice lofting torrents of gorgeous tone.

Ariadne_ONB_10.gifBrenda Rae as Zerbinetta and Thomas Dolié as Harlequin

Conductor Kwamé Ryan drove the big moments of the opera to maximum Straussian effect, and that effect was considerable indeed, though precision and energy were wanting in the detail that Strauss lavishes on his musical story telling. This was most noticeable in the Prologue, though it is possible that this Prologue’s laxity was also the result of the heavy-handed exposition of the performance art metaphor.

The Harlequin, sung by baritone Thomas Dolié, created the evening’s most touching moments, approaching Ariadne’s sandbox with his arms outstretched during her lament, and then as Zerbinetta’s forlorn husband. The Music Master was confidently portrayed by Oliver Zwarg. Actor Martin C. Turba as the Major-domo seemed to be at odds with the musical and staging rhythms of the Prologue further deadening it. Tenor Arnold Bezuyen as Bacchus confused bellowing with singing. Najade (Mélody Loulejian), Dryade (Leslie Davis) and particularly Echo (Eve-Christophe-Fontana) brought fine singing and much pleasurable deadpan perspective to Ariadne’s suffering.

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):