20 Jun 2011
Geneva’s Juicy Oranges
Need something remedial for “what ails you?”
In its ongoing celebration of Verdi’s centennial year, the Los Angeles Opera offered a new production of Falstaff, the composer’s last and most brilliant opera — brilliant in every scintillating, sparkling sense of the word.
Poor Weber: opera companies, especially in England, do him anything but proud.
Acis and Galatea was one of Handel’s most popular works, frequently revived in his life time and beyond.
German tenor Werner Güra, who has made a speciality of the German lieder repertoire, opened this recital at the Wigmore Hall with Beethoven’s An Die Ferne Geliebte, the composer’s only song cycle and the first significant example of the form.
It’s been renamed “The Gershwins' Porgy and Bess,” it hails itself as “The American Musical” and further qualifies itself as “The Porgy and Bess for the Twenty-First Century.”
Richard Wagner wrote: "The voyage through the Norwegian reefs made a wonderful impression on my imagination; the legend of the Flying Dutchman, which the sailors verified, took on a distinctive, strange coloring that only my sea adventures could have given it.”
‘If she is adulterous, why is she praised? If chaste, why was she put to death?’
On Remembrance Sunday, Semyon Bychkov conducted Benjamin Britten's War Requiem at the Royal Albert Hall with Roderick Williams, Allan Clayton, Sabrina Cvilak, the BBC Symphony Orchestra, the BBC Symphony Chorus, Crouch End Festival Chorus and choristers of Westminster Abbey.
The mantle of tenor Peter Pears’ legacy hung heavily over his immediate ‘successors’, as they performed music that had been composed by Benjamin Britten for the man to whom he avowed, ‘I write every note with your heavenly voice in my head’.
One year since the launch of their project to create a contemporary book of Italians madrigals, vocal ensemble Exaudi returned to the Wigmore Hall to present an intermingling of old and new madrigals which was typically inventive, virtuosic and compelling.
Mozart’s The Magic Flute at the Coliseum could give the ENO a welcome boost.
Lyric Opera of Chicago’s current new production of Giacomo Puccini’s Madama Butterfly, an effort shared with Houston Grand Opera and the Grand Théâtre de Genève, tends to emphasize emotional involvements against a backdrop of spare sets.
Dmitri Shostakovich’s opera, The Nose, based on Gogol’s short story of the same name, was a smash hit for the Metropolitan Opera company in 2010 and once again, this season.
There might not be much ‘Serenissima’ about Yoshi Oida’s 2007 production of Death in Venice — it’s more Japanese minimalism than Venetian splendour — but there is still plenty to admire, as this excellent revival by Opera North as part of its centennial celebration, Festival of Britten, underlines.
With an absorbing production of Peter Grimes and a freshly spontaneous La bohème, Canadian Opera Company has set the bar very high indeed for its current season.
Whatever you think of some of the Metropolitan Opera’s recent productions, you cannot fault the Gelb administration for fearing to take risks.
The lustreless white tiles of the laboratory which forms the set of Keith Warner’s pitiless staging of Alban Berg’s Wozzeck offer little respite — cold, hard, rigid and severe, they are a material embodiment of the bleakness and barrenness of the tragic events which will be played out within the workshop walls (sets by Stefanos Lazaridis).
At this year’s Wexford Festival — the 62nd operatic gathering in this small south-eastern Irish town - the trio of operas on show present many a wretched battle between duty and desire.
At the heart of this Wigmore Hall recital were two sacred vocal works for solo countertenor and small instrumental forces, recently recorded by Florilegium and Robin Blaze to considerable critical acclaim: J.S. Bach’s cantata ‘Vergnügte Ruh, beliebte Seelenlust’ and Giovanni Battista Pergolesi’s ‘Salve Regina’.
After the bitter disappointment of
Need something remedial for “what ails you?”
You would do no better than to scurry to the Grand Theatre of Geneva where this first rate ensemble is producing a snazzy, energetic, in-your-face production of Prokofiev’s The Love for Three Oranges. Just like the opera’s hapless Prince we all could use a therapeutic laugh, and this the Swiss company decidedly delivers.
Although it is billed as a “co-production” with Deutsche Oper am Rhein and La Fenice, in truth, the physical design is so definitively reproductive of the Venice Theatre’s architectural elements that is is hard to consider this re-mounting as more than a “rental.” Consider this: the massive masking “legs” stage right and left are photographic copies of the boxes in La Fenice, clearly meant to “extend” that ‘teatro’s’ structure onto the stage. Too, the ‘stage-within-a-stage’ up center has a replica of the Fenice grand drape, and the stucco elements in the backdrop are derived from those in the Italian house. While it does not wholly matter, it does seem to stifle any of the ‘local’ resonance that was clearly intended.
Heikki Kilpeläinen and Jean Teitgen as the King
That said, Ezio Toffolutti’s scenery functioned well, was handsome to look at, and contributed a smooth-moving parade of inventive visual delights required by the libretto. I did wish that the “stage” had not been so far upstage as it served to distance us visually, if not aurally, from the two-thirds of the action that was played there. There was just that big empty expanse of prime “real” stage area unused for much of the time. Maybe shuttering the lighting to more tightly encompass the false stage might have focused the action more and edited the dead space out, although I found Volker Weinhart’s varied lighting design quite well-judged, with good area isolation, effective specials, smooth cross-fades and on the whole, very tightly cued.
Patricia Toffolutti’s fashion parade of meaty, varied, multi-faceted costumes (a ‘char-couture-y’?) provided constant colorful delight. Moreover, her creations were character-specific, greatly helping the actors in embodying their (largely) stock characters. The stage direction by Benno Besson and Ezio Toffolutti managed the large crowd scenes well enough, although the traffic patterns became repetitive. The pair seemed less interested in directorial distinction in the more personal scenes where they contented themselves with getting characters on and offstage with ease and pace. Power loves a vacuum, and absent a scintillating directorial hand, the cast filled in the dramatic blanks with savvy and imagination.
The hardest-working cast member had to be Emilio Pons, whose Truffaldino was not only a master of invention, but also was exceedingly well sung. Mr. Pons is almost never still as he leaps, kicks his heels, spins, cowers, beseeches, minces, and prances with more infectious energy than a Billy Blanks Tae-Bo session. His fearless, manic, even demented, cavorting during the playing of the famous March was a scintillating high point. Too, Emilio deployed his secure lyric tenor to fine effect, pouring out secure, arching phrases on demand, and ‘speechifying’ with good purpose, presence and diction on the many parlando passages. A definitive impersonation from this talented young tenor.
Chad Shelton gave us first a sympathetic and, later, a self-assured Prince. Mr. Shelton has just a hint of a ‘bite’ in his well-schooled tenor which stood him in good stead as the phrases got higher-flying and the instrumental density ratcheted up. His tireless, solid upper extension recalled the young Chris Merritt, and his command of the stage is already even better. On the distaff side, it was a distinct pleasure for me to encounter anew the (apparently) ageless mezzo of Jeanne Piland. I first took notice of Ms. Piland at New York City Opera as Orisini and Smeton in the year…well…we were all younger then. I caught up with her a few years ago as a riveting Sara in Munich’s Roberto Devereux. And here she was again engaging us with a real star turn as Fata Morgana, her rich, plummy voice in fine estate and skillfully deployed; still treading the boards as if born to the stage; still glamorous and vibrant. This was luxury casting and the opening nighters responded enthusiastically.
Chad Shelton as the Prince, Katherine Rohrer as Princess Clarisse, Nicolas Testé as Leandro and Michail Milanov as Tchelio
Jean Teitgen was a positively splendid King of Clubs. His rich, mature bass rolled out line after line of imposing phrases. And Mr. Teitgen devised an exceptionally well-rounded characterization, one moment amusing us as the exasperated buffoon-royal, and the next truly breaking our hearts after his son slaps him — a moment every bit as genuine and touching as the Pasquale equivalent.
Katherine Rohrer (Princess Clarice) and Nicolas Testé (Leandro) sang with solid panache, and prowled the environment with suitable relish of their evil intent. Smeraldina was as over-the-top and vibrant as her co-conspirators, but Carine Séchaye’s sizable mezzo-soprano, when pressed at forte, was occasionally marred by an overly generous vibrato that resulted in approximation of pitches above the staff. Heikki Kilpeläinen was a reliable Pantalone, Thomas Dear stood out with his virile baritone and committed stage action as Farfarello, and Christopher Stamboglis made a strong impression as the Cook. Some artists would be content to let the drag costume do all the work, but Mr. Stamboglis not only sang the role beautifully with a soft grained, weighty bass, but also imbued the part with considerable sensitivity.
The Princesses Linette, Nicolette and Ninette are usually as individual as Huey, Dewey and Louie. Here however, there was good distinction offered by three young sopranos: Susanne Gritschneder with her limpid, lyric Linette; Agnieszka Adamczak with a slightly darker, urgent Nicolette; and Clémence Tilquin in the more extended role of Linette. Ms. Tilquin was just lovely — slim as a ballerina, but with a sizable soprano with a hint of metal that sailed over the orchestra and proved a good partner to Mr. Shelton’s pointed tenor.
The seasoned bass Michail Milanov may not be producing the most fresh-voiced or roundly sung performance of the evening. But, damn if his demonstrative Tchelio didn’t score every point as he brought his years of experience to bear, husbanding his resources to make the most of every dramatic statement. The Geneva public lavished Mr. Milanov with a warmly appreciative ovation for his efforts.
Chad Shelton as the Prince and Katherine Rohrer as Princess Clarisse
Arguably the star of the evening was conductor Michail Jurowski. Never have I heard such fire in this score tempered by such nuance. Maestro Jurowski not only had all the angular, rhythmic flash and dazzle abundantly in place, but he also lovingly inspired contrasting moments of transparency, tenderness, and mellow rumination. This was as deeply felt, stylistically impeccable, personalized and persuasive a reading as you might be lucky enough to encounter once every ten years. The Maestro was ably abetted by Ching-Lien Wu’s meticulously prepared chorus.