20 Jun 2011
Don Pasquale, Opera Holland Park
As it turned out, it was a mild and mainly dry evening.
“Hi! I’m at the Wigmore Hall!” American mezzo-soprano Jamie Barton’s exuberant excitement at finding herself performing in the world’s premier lieder venue was delightful and infectious. With accompanist James Baillieu, Barton presented what she termed a “love-fest” of some of the duo’s favourite art songs. The programme - Turina, Brahms, Dvořák, Ives, Sibelius - was also surely designed to show-case Barton’s sumptuous and balmy tone, stamina, range and sheer charisma; that is, the qualities which won her the First and Song Prizes at the 2013 BBC Cardiff Singer of the World Competition.
“If I lacked ears, it would be bad, but still more bearable; but lacking a nose, a man is devil knows what: not a bird, not a citizen—just take and chuck him out the window!”
A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.
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.
As it turned out, it was a mild and mainly dry evening.
Opera festivals — indeed, all outdoor or semi-outdoor activities — in the UK are in thrall to the vagaries of the weather, and as I write this review in early June I am sitting in my living-room, listening to the rain battering on the window and hoping it might clear up by the time I have to go to Glyndebourne in two days’ time.
For Opera Holland Park, whose theatre is ultimately a tent (albeit a highly sophisticated one) in which the sounds and light quality of the outside world are an inevitable part of the show, director Stephen Barlow has harnessed the characteristic changeable gloom of the British summer to create a modern and very British Don Pasquale that will resonate with anybody used to taking seaside holidays in this country. It is an ingenious treatment, finely honed by the work of lighting designer Mark Jonathan, which I cannot imagine would work as well in any other theatre. It almost made a virtue of the frequent noises-off from aeroplanes passing overheard and children playing elsewhere in the park.
The opera is sung in the original Italian, and Pasquale’s drab, tatty beach café is arbitrarily Italian (in the surtitles, Pasquale refers to it throughout as his ‘casa’). Its menu, however, consists of fish and chips or pie and mash, and there is no question that we are on the British coast — a world of striped awnings, deckchairs for hire, pensioners picnicking on benches with home-made sandwiches and a Thermos. Crucially, it’s the world of another phenomenon with its roots in Italian culture but adopted by the British as their own — the end-of-pier Punch and Judy show, an idea which, while never overtly suggested, Barlow recreates in spirit with a staging which served this peculiarly mean-spirited opera well with a combination of broad visual comedy and vicious humour.
None of the characters in Don Pasquale are obviously sympathetic. Even Ernesto, for all he’s been given the best of Donizetti’s lyrical melody to in which to bewail his uncle’s attempt to disinherit him, is ultimately a lazy freeloader who has grown too used to taking advantage of his old uncle’s generosity. While Pasquale is unquestionably in need of being taught a lesson in respect of his view of women, the bullying he suffers at the hands of everybody else in the cast goes much too far and you can’t help but feel sorry for the old man. It’s cynical, cruel and unashamedly selfish.
The visual humour was plentiful, with some laugh-out-loud moments. The fresh-from-the-convent “Sofronia” whipped off a full nun’s habit to reveal a sexy scarlet number, and in Act 3 was “revealed” in a more grotesquely extravagant get-up still, draped across the counter of her newly refurbished “Café Corneti” like a swimwear model across the bonnet of a sports car.
Donald Maxwell as Don Pasquale and Richard Burkhard as Dr Malatesta
Meanwhile, a series of peripheral gags involving walk-on characters from the chorus further highlighted the general tone of the production. Don Pasquale’s outdated attitudes are underlined by his gleefully lascivious reaction to the sight of two scantily-clad young lady joggers, and disapproving glances towards a male gay couple with a baby (they are later revealed not to be a couple at all, but the partners of the joggers). Meanwhile, a casual user of a coin-operated telescope on the seafront has his gaze distracted by the sight of the snazzily-attired Norina provocatively applying sun lotion to her décolleté, much to the annoyance of his long-suffering pregnant wife.
Top vocal honours went to the Ernesto, the South African tenor Colin Lee who is now deservedly enjoying a high-profile international career. He has a personable stage presence, and a voice at the more substantially rounded end of the flexible bel canto tenor spectrum, with bright liquid tone which pings right to the back of the auditorium. In the title role, opera buffa veteran Donald Maxwell was highly entertaining when the action demanded, but on the whole he was more sympathetic and genuine than most, offering a rare degree of balance. Richard Burkhard’s Malatesta had a well-schooled voice and engaging personality.
Majella Cullagh as Norina
I have admired Majella Cullagh in numerous Donizetti roles in the past, but sadly felt that she was miscast as Norina; her light, vinegary soprano did open up somewhat as the evening progressed, but she remained overpowered by her colleagues during the ensembles. And as spirited and entertaining as her performance was, she made rather a matronly heroine — believable perhaps as the scheming merry widow (there’s no reason at all why Ernesto’s lover shouldn’t be somewhat older than him), but hardly convincing as the nubile young bride who the lecherous Pasquale believes is the embodiment of his fantasies.
In the pit was bel canto’s supreme champion, Richard Bonynge, looking spry and conducting with poised lyricism.
All in all a strong, entertaining and memorable opening to Opera Holland Park’s 2011 season, and one which turns this unique theatre’s many idiosyncrasies to its advantage. One of next year’s operas is Falstaff, which has immense potential in a theatre which loses natural daylight as the performance progresses; let us hope the director makes the most of it.
Ruth Elleson © 2011