22 Apr 2011
Minnesota Opera rescues Herrmann work
There’s more Byron than Brontë in Bernard Herrmann’s 1951 Wuthering Heights.
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure, this new production presents the plot as the dying protagonist’s feverish hallucinations. The result is a frosty retelling of what is arguably Puccini’s most hot-blooded opera. Musically, the performance also left much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang bergetar akan terhapus.” (“The transient cannot hold on to stars lost in the Milky Way; that which quivers will be erased.”) As soprano Tony Arnold sang these words of Tony Prabowo’s chamber opera Pastoral, with astonishingly crisp Indonesian diction, the first night of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
Manitoba Underground Opera took audiences on a journey — literally and figuratively — as it presented its latest installment of repertory opera between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
There’s more Byron than Brontë in Bernard Herrmann’s 1951 Wuthering Heights.
That’s the case at least in the Minnesota Opera’s mesmerizing production of the largely forgotten work that opened at St. Paul’s Ordway Center on April 16. Herrmann’s score, completed in neighboring Minneapolis in 1951, is Romanticism writ large and saturated with Weltschmerz. And it all hurts so good!
With the help of librettist — and first wife — Lucille Fletcher Herrmann took much of the agony — but none of the angst — out of Emily Brontë’s 1847 novel. It is now a gentler story; they have softened the narrative line and made these forlorn credible in their passions — and their frustrations. The frame of the 19th-century social novel is still there, but these are people who would have a hard time building meaningful relationships even without the barriers of caste. To make this clear, MO assembled a great production team for a staging that — one hopes — will be seen on other companies.
Only someone with a heart of stone could resist loving Heathcliff as played by Lee Poulis, a Hollywood-handsome baritone who must be spectacular Don Giovanni, a role he has played at Sarasota Opera. He’s moody, to be sure, but Simonson does not place great emphasis on Heathcliff’s origins as a Gypsy foundling taken into the stuffy and inhibited Earnshaw family. And his problems are explained only in part by the social structure of the day. Poulis shrouds him in darkness — that’s what makes him fascinating to women (and at some point in the past to the elder Earnshaw who brought him home from Liverpool).
Ben Wager as Hindley Earnshaw and Victoria Vargas as Nelly Dean
It’s clear that Heathcliff is an unlikely candidate for an enduring Mr. Right in any era. He’s a complex guy — even when “sanitized” and gussied up in fancy duds. (How he comes to wealth so suddenly is left a secret by Brontë.) Thus it’s unavoidable that Catherine Earnshaw will love Heathcliff even after her marriage to colorless Edgar Litton, and that there’s no way out of this dilemma for her.
As Catherine Sara Jakubiac replaced Kelly Kaduce, originally slated to sing the role. Although she might not yet have Kaduce’s polish, Jakubiac may have an even richer and larger voice than Kaduce, the MO favorite who returns to the company as Madama Butterfly next season. Jakubiac made the long solo scene in which Catherine faces the hopelessness of her situation both gripping and engaging.
Equally touching was mezzo Adriana Zabala in writing the confessional letter that leaves no doubt about the miseries of her life with Hindley Earnshaw, sung by bass Ben Wager. Wager, on the other hand, somewhat overplays his addiction to alcohol in a scene that breaks with the overall resolute calm of Herrmann’s score.
Adriana Zabala as Isabella Linton, Victoria Vargas as Nelly Dean, Sara Jakubiak as Catherine Earnshaw and Eric Margiore as Edgar Linton
It’s a pity that as Edgar, Eric Margiore, the only tenor in the cast, has so little to sing. His one aria was lovingly delivered.
Although the part is small, bass-baritone Rodolfo Nieto brought one of the strongest voices in the cast to farmhand — and religious fanatic — Joseph.
One wishes one might have heard more of Jesse Blumberg — one of America’s great young baritones and a MO regular — than was allotted him as Mr. Lockwood in the opening scene.
Herrmann — most famous for such film scores as Citizen Cane and Psycho —otherwise spent his life largely as a conductor. It is not surprising, then, that Wuthering Heights is in concept orchestral, and in Michael Christie MO chose a conductor who knew how to make the most of this fact. Punctuated by many solo moments, Wuthering Heights as drama is essentially through-composed, in light of which Christie kept a sensitive finger on the pulse of the score.
Despite a staging at Portland in 1981 and a concert performance in France last summer, Wuthering Heights has never found its way into the repertory, because — allegedly — Herrmann was offended by any suggestion that he shorten the 3.5 hour work. That the MO performance lasted less than three hours seems to indicate that significant cuts were made in this production. Despite the length of the performance Christie kept attention riveted on the opera.
The sets and costumes by Neil Patel and Jane Greenwood, respectively, were predictable, Wendall K. Harrington brought visual enchantment to the production with the projections of which she now seems the national master. (She was equally successful with her contribution to Ricky Ian Gordon’s Rappahannock County, premiered at the Virginia Arts Festival on April 12.)
This production is part of Minnesota’s New Works Initiative, designed to focus attention on new or neglected work. A “first” for the company, the staging will be filmed in high definitive for digital distribution. (Confession: I set out to read Brontë’s novel for the first time in 65 years, but put it aside half way through. Herrmann’s version of the story is far better entertainment.) Dates for broadcasts and showing have not been set at this time.