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 Performances

Brave but flawed world premiere: Fortress Europe in Amsterdam

Calliope Tsoupaki’s latest opera, Fortress Europe, premiered as spring began taming the winter storms in the Mediterranean.

New Sussex Opera: A Village Romeo and Juliet

To celebrate its 40th anniversary New Sussex Opera has set itself the challenge of bringing together the six scenes - sometimes described as six discrete ‘tone poems’ - which form Delius’s A Village Romeo and Juliet into a coherent musico-dramatic narrative.

La voix humaine: Opera Holland Park at the Royal Albert Hall

Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.

London Handel Festival: Handel's Faramondo at the RCM

Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.

Brahms A German Requiem, Fabio Luisi, Barbican London

Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.

Káťa Kabanová in its Seattle début

The atmosphere was a bit electric on February 25 for the opening night of Leoš Janàček’s 1921 domestic tragedy, and not entirely in a good way.

Festival Mémoires in Lyon

Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).

Christoph Prégardien and Julius Drake at the Wigmore Hall

The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.

La Tragédie de Carmen at San Diego

On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).

Kasper Holten's farewell production at the ROH: Die Meistersinger von Nürnberg

For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.

AZ Musicfest Presents Mendelssohn's Italian Symphony and Leoncavallo's Pagliacci

The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.

Premiere: Riders of the Purple Sage

On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.

English Touring Opera Spring 2017: a disappointing Tosca

During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.

Matthias Goerne : Mahler Eisler Wigmore Hall

A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.

A Merry Falstaff in San Diego

On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.

New Production of Mozart’s The Magic Flute at Lyric Opera, Chicago

In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.

A Salome to Remember

Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.

L’Elisir d’Amore Goes On Despite Storm

On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.

Boris Godunov in Marseille

There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.

Bartoli a dream Cenerentola in Amsterdam

With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.

OPERA TODAY ARCHIVES »

Performances

Tamara Mumford as Phaedra [Photo by Kelly & Massa Photography courtesy of Opera Company of Philadelphia]
06 Jun 2011

Phaedra in Philadelphia

The U.S. premiere of Hans Werner Henze’s Phaedra at the Opera Company of Philadelphia may well be the most important and ambitious new work presented by any American company this season.

Hans Werner Henze: Phaedra

Click here for cast and production information

Above: Tamara Mumford as Phaedra

All photos by Kelly & Massa Photography courtesy of Opera Company of Philadelphia

 

Henze started composing when Arnold Schoenberg and Richard Strauss were still alive; he is the last living link to a continuous tradition of German opera reaching back for centuries. Yet his Phaedra, composed in 2007 when the composer was in his early 80s, is as vital and moving as any of his dozen previous operas. Presented by a brilliant and committed young cast, it marks a special occasion for any serious music-lover.

Phaedra retells the Greek myth of a step-mother’s fatally incestuous love for her son—a theme that has fascinated playrights from Euripides to O’Neill and composers from Rameau to Britten. Act One in Henze’s libretto follows Euripides. When Hippolytus rejects Phaedra’s love, it turns to hate. She plots his murder, then commits suicide out of shame. In the background, goddesses make sport of men, with Aphrodite goading on Phaedra and Artemis backing Hippolytus. In Henze’s Act Two, drawn loosely on Ovid, Hippolytus is resurrected by Artemis, loses his memory, is imprisoned in a cage and a cave, but in the end regains both freedom and identity.

fullres_2011_06_01_KM1016.gifWilliam Burden as Hippolytus

The work contains autobiographical resonances. Henze, in the classic mode of German Romantics, moved in later life to Italy—by chance, close to the spot where these mythical events are said to have occurred. He had finished Act One when he suddenly fell into a coma for several months. He was expected to die, but suddenly recovered. Seemingly revitalized, he wrote Act Two, with its theme of reincarnation.

All this is reflected in Henze’s luminous, precisely constructed score. Those familiar with his most famous operas, written in the 1960s when he was engaged in broader social and intellectual causes, will note that the mode of expression here is more private. One encounters neither the intricate and dramatic interactions among the characters in Elegy for Young Lovers, nor the symphonic sweep and struggle with implacable fate before a Greek chorus of Die Bassariden. The characters in Phaedra barely take notice of one another or the society around them. The dramatic focus lies instead on their interior monologues.

Consistent with its private, existential emphasis, Phaedra is delicately scored for five singers and an orchestra of 23 players. Yet it is miraculously varied, evocative and often sensuous writing of a mature master. The style is influenced, as always with Henze, by the second Viennese school—one key reference being Alban Berg’s Lulu—with clearly audible elements of Schönberg’s serialism, Stravinsky’s neo-classicism, Britten’s sound-world, and Weill.

fullres_2011_06_01_KM0155.gifElizabeth Reiter (standing) as Aphrodite with mezzo-soprano Tamara Mumford (kneeling) as Phaedra

Henze makes this all distinctively his own, creating unforgettable moments. Phaedra and Hippolytus’s early dawn wanderings in the forest are introduced by a sinuous duet for alto saxophone and English horn. The apex of the opera, when Hippolytus questions his identity, is followed by the most magically subtle suggestion of an orchestral storm: a brooding cello, swirling woodwinds, and a light, almost Japanese, rainstorm of solo percussion. The final scene, expressing the moral that we should dance our way through life rather than hunting (or being hunted) in the labyrinth, wittily echoes the finales of classic Baroque or Mozart opera.

Such writing imposes enormous technical and interpretive demands. Complex, largely atonal passages, subtle shifts in dynamics and meter, and a wide range of refined timbres must be performed in a limpid and fluid manner.

In Philadelphia, four outstanding young American singers take the leads. Phaedra is movingly sung by young mezzo-soprano Tamara Mumford. Her uncommonly expressive voice has increased in size since her successful Lucretia in Philadelphia two years ago—almost to the limits of the role—yet retains its plangent edge. Her elegant physical beauty perfectly suits aristocratic women in uncomfortable circumstances, such as Lucretia and Phaedra.

fullres_2011_06_01_KM0568.gifAnthony Roth Costanzo as Artemis

Anthony Roth Costanzo, the leading American countertenor of his generation, assumes the role of Artemis with clarity, precision and occasionally seductive charm. His voice has also grown in recent years, perhaps—as with Mumford—the result of singing at the Met.

William Burden, another returnee from the 2009 Lucretia, sings Hippolytus with passion, musicality, and dramatic impact. To be sure, some might object that the role of Hippolytus calls for less virility and a cooler and more focused tone production—John Mark Ainsley sang the European premiere to perfection—but Burden slims down to a ravishing “mixed voice” when it matters most, as in the Act II scene starting “Bin ich ein Vogel…”

Henze’s meandering, atonal phrases are murderously difficult to sing precisely on pitch. Only Elizabeth Reiter, who sings Aphrodite, is fully up to the task (though Costanzo comes close). Singing spot on pitch, she brings the music suddenly into focus, revealing its Mozartian naturalness and grace. It is hard to believe Reiter is a still a graduate student at Curtis—albeit one already boasting Tanglewood, Carnegie Hall, and European credits. Jeremy Milner is vocally and physically imposing in the cameo role of the Minotaur.

For all the vocal splendor—reinforced by the small confines of the Kimmel Center’s Perelman Theater—the musical preparation is not uniformly idiomatic. Both singers and orchestral players might take fuller advantage of extensive dynamic markings in the score. And only Costanzo consistently communicates of the eclectic pedigree of this music: where, for example, are the Cabaret influences in Phaedra’s Weill-inspired Act II seduction scene? German diction, though uniformly intelligible, remains uneven. Vocal trills go missing. Some questionable orchestral intonation mars Act II, and orchestral detail under Music Director Corrado Rovaris is lost. Yet such issues may resolve themselves out during the 5-performance run of what is an extremely difficult work.

fullres_2011_06_01_KM0066.gifTamara Mumford as Phaedra with tenor William Burden as Hippolytus

A more serious problem is that the visual treatment falls well short of the high musical standard. The basic concept of the production is promising: abstract, geometrical panels on which projections appear and in front of which a large cage descends in Act Two to entrap Hippolytus. Yet the costumes, make-up and stage direction fail to capture the mysterious essence of this opera. In part this is because much of the production does not engage Henze’s explicit instructions. One would never know that in the finale of Act One, Henze’s score brutally confronts the audience with Phaedra’s death: “The bang of a trap door. Phaedra hangs from a rope.” In the final scene of Act Two, the stage directions read: “In the background, the Minotaur dances,” evoking the archaic strangeness of the libretto, as well as its aspiration to reconceive two millennia of the Western tradition.

Such instructions need not be followed to the letter, but the lowest-common-denominator realism of the Philadelphia staging—characters in realistic costumes, little make-up and no masks, with pictures of birds and trees behind them—seems banal and earthbound in a way fundamentally at odds with the opera’s spirit. Expressionism or abstraction might better convey that Henze’s characters are not, in the end, real people, but archetypes engaged with central issues of Western culture.

Ultimately, however, the Opera Company of Philadelphia has rightly chosen to emphasize first and foremost the music. Phaedra is a miraculous musical achievement that combines the freshness of youth with the wisdom and skill of old age. An opportunity to hear voices of this quality in a work of this significance should not be missed.

Andrew Moravcsik

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):