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 Reviews

A sunny L'elisir d'amore at the Royal Opera House

Theresa May could do with a Doctor Dulcamara in the Conservative Cabinet: his miracle pills for every illness from asthma to apoplexy would slash the NHS bill - and, if he really could rejuvenate the aged then he’d solve the looming social care funding crisis too.

Budapest Festival Orchestra: a scintillating Bluebeard

Ravi Shankar’s posthumous opera Sukanya drew a full house to the Royal Festival Hall last Friday but the arrival of the Budapest Festival Orchestra under their founder Iván Fischer seemed to have less appeal to Londoners - which was disappointing as the absolute commitment of Fischer and his musicians to the Hungarian programme that they presented was equalled in intensity by the blazing richness of the BFO’s playing.

Elizabeth Llewellyn: Investec Opera Holland Park stages Puccini's La Rondine

It’s six or so years ago since soprano Elizabeth Llewellyn appeared as an exciting and highly acclaimed new voice on the UK operatic stage, with critics praising her ‘ravishing account’ (The Stage) of Mozart’s Countess in Investec Opera Holland Park’s 2011 Le nozze di Figaro in which ‘Porgi, amor’ was a ‘highlight of the evening’.

Sukanya: Ravi Shankar's posthumous opera

What links Franz Xaver Süssmayr, Brian Newbould and Anthony Payne? A hypothetical question for University Challenge contestants elicits the response that they all ‘completed’ composer’s last words: Mozart’s Requiem, Schubert’s Symphony No.8 in B minor (the Unfinished) and Edward Elgar’s Third Symphony, respectively.

Cavalli's Hipermestra at Glyndebourne

‘Make war not love’, might be a fitting subtitle for Francesco Cavalli’s opera Hipermestra in which the eponymous princess chooses matrimonial loyalty over filial duty and so triggers a war which brings about the destruction of Argos and the deaths of its inhabitants.

Dougie Boyd, Artistic Director of Garsington Opera: in conversation

One year ago, tens of millions of Britons voted for isolation rather than for cooperation, but Douglas (Dougie) Boyd, Artistic Director of Garsington Opera, is an energetic one-man counterforce with a dynamic conviction that art and culture are strengthened by participation and collaboration; values which, alongside excellence and a spirit of adventure, have seen Garsington Opera acquire increasing renown and esteem on the international stage during his tenure, since 2012.

I Fagiolini's Orfeo: London Festival of Baroque Music

This year’s London Festival of Baroque Music is titled Baroque at the Edge and celebrates Monteverdi’s 450th birthday and the 250th anniversary of Telemann’s death. Monteverdi and Telemann do in some ways represent the ‘edges’ of the Baroque, their music signalling a transition from Renaissance to Baroque and from Baroque to Classical respectively, though as this performance of Monteverdi’s Orfeo by I Fagiolini and The English Cornett & Sackbutt Ensemble confirmed such boundaries are blurred and frequently broken.

The English Concert: a marvellous Ariodante at the Barbican Hall

I’ve been thinking about jealousy a lot of late, as I put the finishing touches to a programme article for Bampton Classical Opera’s summer production of Salieri’s La scuola de' gelosi. In placing the green-eyed monster centre-stage, Handel’s Ariodante surely rivals Shakespeare’s Othello in dramatic clarity and concision, as this terrifically animated and musically intense performance by The English Concert at the Barbican Hall confirmed.

Riel Deal in Toronto

With its new production of Harry Somers’ Louis Riel, Canadian Opera Company has covered itself in resplendent glory.

Concert Introduces Fine Dramatic Tenor

On May 4, 2017, Los Angeles Opera presented a concert starring Russian soprano Anna Netrebko and her husband, Azerbaijani tenor Yusif Eyvazev. Led by Italian conductor Jader Bignamini, members of the orchestra showed their abilities, too, with a variety of instrumental selections played between the singers’ arias and duets.

COC: Tosca’s Cautious Leap

Considering the high caliber of the amassed talent, Canadian Opera Company’s Tosca is a curiously muted affair.

Matthias Goerne - late Schumann songs, revealed

Matthias Goerne Schumann Lieder, with Markus Hinterhäuser, a new recording from Harmonia Mundi. Singers, especially baritones, often come into their prime as they approach 50, and Goerne, who has been a star since his 20's is now formidably impressive. The colours in his voice have matured, with even greater richness and depth than before.

Schubert's 'swan-song': Ian Bostridge at the Wigmore Hall

No song in this wonderful performance by Ian Bostridge and Lars Vogt at the Wigmore Hall epitomised more powerfully, and astonishingly, what a remarkable lieder singer Bostridge is, than Schubert’s Rellstab setting, ‘In der Ferne’ (In the distance).

Baritone Josep-Ramon Olivé wins the 2017 Guildhall School Gold Medal

The Guildhall School of Music and Drama has announced baritone Josep-Ramon Olivé as the winner of this year’s Gold Medal, the School’s most prestigious prize for outstanding soloists. The prize is awarded to singers and instrumentalists in alternate years and this year was the turn of the singers.

Stunning power and presence from Lise Davidsen

For Norwegian soprano Lise Davidsen this has been an exciting season, one which has seen her make several role and house debuts in Europe and beyond, including Agathe (Der Freischutz) at Opernhaus Zürich, Santuzza (Cavalleria Rusticana) Norwegian National Opera and, just last month, Isabella (Liebesverbot) at Teatro Colón. This Rosenblatt Recital brought her to the Wigmore Hall for her UK recital debut and if the stunning power, shining colour and absolute ease that she demonstrated in a well-chosen programme of song and opera are anything to judge by, Glyndebourne audiences are in for a tremendous treat this summer, when Davidsen appears in the title role of Richard Strauss’s Ariadne auf Naxos.

LALO and COQUARD: La Jacquerie

La Jacquerie—here recorded for the first time—proves to be a wonderful opera, bringing delight upon delight.

Three Rossini Operas Serias

Rossini’s serious operas once dominated opera houses across the Western world. In their librettos, the great French author Stendahl—then a diplomat in Italy and the composer’s first biographer—saw a post-Napoleonic “martial vigor” that could spark a liberal revolution. In their vocal and instrumental innovations, he discerned a similar revolution in music.

Urania Remasters Marriage of Figaro

Good news for lovers of Mozart’s Marriage of Figaro: the famous Living Stereo recording, a co-production of RCA Victor and English Decca, is now available again, well remastered, on Urania.

Tosca: Stark Drama at the Chandler Pavilion

On Thursday evening April 27, 2017, Los Angeles Opera presented a revival of Giacomo Puccini’s Tosca at the Dorothy Chandler Pavilion. In 2013, director John Caird had given Angelinos a production that made Tosca a full-blooded, intense drama as well as a most popular aria-studded opera. His Floria was a dove among hawks.

Glyndebourne Festival 2018 programme announced

The UK’s first professional production of Samuel Barber’s Pulitzer prize-winning opera Vanessa takes place at Glyndebourne Festival 2018. One of the great American operas, Vanessa was hailed as a triumph at its premiere in 1958 but quickly fell out of the repertoire and has only been staged intermittently since.

OPERA TODAY ARCHIVES »

Reviews

(Left to Right) Alexander Vinogradov as Malyuta-Skuratov, Ekaterina Gubanova as Lyubasha and Johan Reuter as Gryaznoy [Photo by Bill Cooper courtesy of The Royal Opera]
18 Apr 2011

The Tsar’s Bride, Royal Opera House

In Russian-speaking countries, Rimsky-Korsakov’s The Tsar’s Bride is much loved. In the west, it’s known mainly for its Overture. The Royal Opera House’s production is the first major production of the full opera in Britain.

Nicolai Rimsky-Korsakov: The Tsar’s Bride

Grigory Gryaznoy: Johan Reuter; Malyuta-Skuratov: Alexander Vinogradov; Bomelius: Vasily Gorshkov; Ivan Likov: Dmytro Popov; Lyubanova: Ekaterina Gubanova; Marfa Sobakina: Marina Poplavskaya; A young lad: Andrew O’Connor; Dunyasha: Jurgita Adamonytė; Petrovna: Anne-Marie Owens; Vasily Sobakin: Paata Burchuladze; Domna Ivankovna: Elisabeth Woollett; A girl: Louise Armit; The Tsar’s Stoker: Jonathan Coad. Orchestra and Chorus of the Royal Opera House, London. Conductor: Sir Mark Elder. Director: Paul Curran. Set: Kevin Knight. Lighting: Martin Jacques. Royal Opera House, London, 14th April 2011.

Above: (Left to Right) Alexander Vinogradov as Malyuta-Skuratov, Ekaterina Gubanova as Lyubasha and Johan Reuter as Gryaznoy

All photos by Bill Cooper courtesy of The Royal Opera

 

Audiences expecting Sheherezade will be in for a shock. The Tsar’s Bride is no fairy-tale fantasy. The first image you see is one of a crumpled, semi-naked figure tied to a chair. Grigory Gryaznoy (Johan Reuter), the oprichnik, here seen as a kind of Mafia boss, removes the victim’s hood, it shows he’s been tortured. They are both in a luxuriously appointed night club, after hours. Waiters mill about, but no-one dares intervene. It’s a metaphor for the whole opera, which deals with the vicious abuse of power. Everyone can be bought if the price is right, sings Lyubasha (Ekaterina Gubanova). She knows she’s doomed, since Gryaznoy has found another love. When he and his cronies throw a party, they’re entertained by lap dancers, desperate young women who sell themselves to survive.

Luxury, contrasted with degradation. Gryaznoy has been smitten by Marfa Vasilyevna, (Marina Poplavskaya) the daughter of Vasily Sobakin (Paata Burchuladze). The family is happy as all seems to be going well. They are merchants from Novgorod. They don’t normally move in dissolute Court circles, but Marfa is engaged to her childhood sweetheart Ivan Likov (Dmytro Popov), who has returned to her after years in the Tsar’s service. Burchuladze, Popov, Poplavskaya and Jurgita Adamonytė (Dunyasha) sing the beautiful Act II Quartet joyfully but it’s heartbreaking to know what lies ahead.

TSARS-BRIDE.201104080801.gifDmytro Popov as Likov and Marina Poplavskaya as Marfa

Rimsky-Korsakov writes relatively little for Marfa to sing until the end, because she’s a modest virgin. In Act II, Poplavskaya’s voice created Marfa’s optimism perfectly. She’s dressed at first in a version of a man’s three piece suit but that actually emphasizes her innate femininity. She’s not self conscious, she’s herself. No silly coquetry, but clear toned, directness of expression. Poplavskaya can be touchingly tender when she sings of her childhood, but she creates Marfa as a morally upright personality. It works well dramatically. because this honest Marfa has more integrity than anyone else. No wonder Gryzanoy and the Tsar are hypnotized. When a person like that gets destroyed by the mean and venal, it’s much more tragic than if it were someone you can’t relate to.

Act II takes place in an oligarch’s penthouse, complete with swimming pool and a breathtaking view of the Moscow skyline. New buildings, some still with cranes. New money, ostentatious consumption, greed. The Tsars weren’t the only rulers to misuse their authority, as Russian-speaking audiences were only too aware. Gryaznoy plots to win Marfa with a love potion concocted by Bomelius, the sinister German apothecary (Vasily Gorshkov) . What he doesn’t know is that Lyubasha has switched the potion for poison. What none of them know until the last moment is that the Tsar has pulled a switch on them all by deciding, arbitrarily, to marry Marfa himself. The Tsar (in this case Ivan the Terrible) is an invisible presence, all the more menacing because he’s unseen and unheard, but destroys everyone’s plans. Just as no-one stops Gryzanov, no-one stops the Tsar.

In the Tsar’s ornate, golden palace, Marfa, now Tsarina, is dying. Marina Poplavskaya’s portrayal of Marfa now revealed its true fire and intelligence. Poplavskaya is too good to indulge in standardized “mad scene”. She sings so each phrase means something, as if Marfa is trying to process in her mind a source of evil beyond her comprehension. “Where’s Likov?”, she’s thinking, and turns to Gryaznoy, mistaking him for the man she’s longing for. It’s so disturbing that even he is moved. Because Poplavska makes us realize that Marfa is a human being, not a lunatic, she makes us empathize.

TSARS-BRIDE.201104080023.gifJohan Reuter as Gryaznoy

Poplavkaya’s Marfa is truly the daughter of a father like Paata Burchuladze’s Sobakin. As soon as he begins to sing in Act II, he lifts the ante for the whole cast. His is a real “Russian” bass, with dark gravitas, given extra colour by his extensive experience in Italian repertoire. His Act IV aria, “Zabylasya” compresses a huge emotional range into a few minutes. Sobakin isn’t a man of many words, but he’s deep. Even when he’s not singing, he’s a presence, blocked by the director Paul Curran so he’s the pivot of proceedings. Just as the Tsar doesn’t need to sing to be effective, Burchuladze stands at the centre of ensembles, observing and thinking. When he slits Gryaznoy’s throat, it happens so suddenly and subtly that you realize that Sobakin has been building up quietly to this final act of desperation.

Ekaterina Guberova’s Lyubasha was strongly characterized too. In Act I, she pleases the mobsters by singing her charming quasi-folk song, but adds a deliberate air of toughness, which shows how unnatural the situation really is. Perhaps Lyubasha was once like Marfa is now ? in the second Act, Lyubasha spies on Marfa and knows she can’t compete, Guberova captures her despair and revulsion at the price she must pay to bribe Bomelius. It’s only in her final aria that she confronts herself and Gryaznoy. “Straight through the heart” she sings when he stabs her.

Johan Reuter is a vocally acceptable Gryaznoy. But his even-toned solidity implies that he’s fundamentally too nice to portray a villain whose whole life has been spent casually killing and maiming. The part can be created with swaggering sexual menace, but not in this production. By falling for Marfa, Gryaznoy is beginning to see the error of his ways, but characters like that don’t normally reform or they don’t survive.

TSARS-BRIDE.201104120730.gifAct II (Left to Right) Jurgita Adamonytė as Dunyasha, Dmytro Popov as Likov, Marina Poplavskaya as Marfa, Anne-Marie Owens as Petrovna and Johan Reuter As Gryaznoy

Alexander Vinogradov’s Malyuta-Skuratov is more in character, as was Vasily Gorshov’s Bomelius, but both have less to sing. Dmytro Popov’s Likov presented well vocally, but perhaps Rimsky-Korsakov realized that the role is no match against Gryaznoy or even, to some extent, to Marfa. Jurgita Adamonytė’s Dunyasha was well delivered but the role has “downcast eyes” as described in the text. Even Lyubasha dismisses her as a threat. As always, the chorus of the Royal Opera House was excellent, and the dancers were clearly professionally trained. No ordinary choristers can do high kicks and contortions like they did. In the pit, Sir Mark Elder conducted well, though not with the verve specialists in this repertoire might attain. Altogether,The Tsar’s Bride is a very good experience, which deserves to be heard again. Perhaps one day, when London gets the Russian idiom into its heart, The Tsar’s Bride will be appreciated for the opera it is.

The Tsar’s Bride runs from 14th April to 2nd May 2011. For more information please see the Royal Opera House website.

Anne Ozorio

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):