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

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.

Winterreise : a parallel journey

Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.

Anna Bolena in Lisbon

Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.

Oh, What a Night in San Jose

It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.

Billy Budd in Madrid

Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.

A riveting Nixon in China at the Concertgebouw

American composer John Adams turns 70 this year. By way of celebration no less than seven concerts in this season’s NTR ZaterdagMatinee series feature works by Adams, including this concert version of his first opera, Nixon in China.

English song: shadows and reflections

Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.

A charming Pirates of Penzance revival at ENO

'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.

A Relevant Madama Butterfly

On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.

Johan Reuter sings Brahms with Wiener Philharmoniker

In the last of my three day adventure, I headed to Vienna for the Wiener Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.

Gatti and the Royal Concertgebouw Orchestra Head to Asia

In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the Royal Concertgebouw, Daniele Gatti, came together for their first engagement in a ravishing performance of Berg’s Violin Concerto.

Verdi’s Requiem with the Berliner Philharmoniker

I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and Wiener Philharmoniker, to hear these three top orchestra perform their series programmes opening the New Year.

Jeanne d'Arc au bûcher in Lyon

There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.

A New Look at Mozart’s Abduction from the Seraglio

On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.

Giasone in Geneva

Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.

Falstaff in Genoa

A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.

Traviata in Seattle

One of Aidan Lang’s first initiatives as artistic director of Seattle Opera was to encourage his board to formulate a “mission statement” for the fifty-year old company. The document produced was clear, simple, and anodyne. Seattle Opera would aim above all to create work appealing both to the emotions and reason of the audience.

Wagner at the Deutsche Oper Berlin Part II: Kasper Holten’s angelic Lohengrin

Contrary to Stolzi’s multidimensional Parsifal, Holten’s simple setting of Lohengrin felt timeless with its focus on the drama between characters. Premiering in 2012, nothing too flashy and with a clever twist,

Wagner at the Deutsche Oper Berlin Part I: Stölzl’s Psychedelic Parsifal

Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner productions. This Fall, its productions of Philipp Stölzl's Parsifal and Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it comes down to last minute replacements, the casting is topnotch.

Donna abbandonata: Temple Song Series

Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.

OPERA TODAY ARCHIVES »

Reviews

Richard Wagner: Rienzi — Der Letzte der Tribunen
16 Jun 2011

Wagner’s Rienzi in Berlin

The Voltaire maxim usually given in English as “The perfect is the enemy of the good” illuminates the artistic conflicts surrounding many a Wagner production.

Richard Wagner: Rienzi — Der Letzte der Tribunen

Rienzi: Torsten Kerl; Irene: Camilla Nylund; Steffano Colonna: Ante Jerkunica; Adriano: Kate Aldrich; Paolo Orsini: Krzysztof Szumanski; Cardinal Orvieto: Lenus Carlson; Baroncelli: Clemens Bieber; Cecco del Vecchio: Stephen Bronk. Berlin Deutsche Opera Chorus and Orchestra (chorus master: William Spaulding). Sebastian Lang-Lessing, conductor. Philipp Stölzl, stage director and set design. Ulrike Siegrist, set design. Kathi Maurer and Ursula Kudrna, costume design. Recorded live from the Deutsche Oper Berlin, 2010.

ArtHaus Musik 101521 [2DVDs] | 101522 [Blu-Ray]

$39.99  Click to buy

With such large operas — in duration, cast, theme, and more — the viewer is best prepared to enjoy any production by foregoing Apollonian expectations. Wagner held himself to very high standards, of course, and one early victim of his search for perfect artistic self-expression was his opera Rienzi — Last of the Tribunes. Created around the same time as The Flying Dutchman, Wagner decided later that Rienzi fell into his early growth period, while Dutchman marked the beginnings of his artistic maturity. So Rienzi was banned from the Bayreuth canon, and indeed the opera has seldom been staged elsewhere, although there are some historic recordings available. What has kept the opera’s title alive is the popularity of its overture in performance and on classical music radio stations. The stirring nobility of the main theme and then the energetic propulsion of the middle section must have led many a listener to be curious about what the opera would be like, seen staged.

An answer — if partial — can be found in the ArtHaus DVD of a 2010 Deutsche Oper Berlin performance, directed by Philip Stötzl. Wagnerian perfectionists face two daunting challenges in enjoying the best of this staging: first, the radically edited version of the score created as the basis of this performance, and second, Stötzl’s decision to forego the setting and even tone of Wagner’s libretto for the sort of modern theatrical interpretation often described, not to say derided, as “regie.”

Set in 14th century Rome, Wagner’s original libretto had a sprawling cast of characters engaging in multiple subplots, but Stötzl cut away everything except the central story of the Roman tribune Rienzi, who becomes a hero to the people when, with the backing of the Church, he faces down a civil revolt. Somewhat reluctantly, he agrees to take leadership and find a final resolution to the conflict. A key member of one of the opposing factions, Adriano, falls in love with Rienzi’s devoted sister, Irene. Adriano pledges support to Rienzi, but other members of the rebelling factions attempt an assassination. Rienzi survives, but then he becomes as autocratic and oppressive as those he sought to subdue. Ultimately, civil war breaks out again, and Rienzi is killed, along with his sister Irene, who chooses her brother over Adriano, leaving the young man bereft.

That much of the story Stötzl communicates very clearly, but he does it through the iconic images of the Third Reich (although there is no specific Hitler parallel in Rienzi’s appearance). Under the overture, a gymnast in a fat military suit cavorts around a huge desk, a homage to Charlie Chaplin in The Great Dictator playing with a globe-shaped balloon. In his white suit and pulled back hair, Torsten Kerl as Rienzi has a quasi-Mussolini affect, but even from the beginning he seems unstable and unreliable as a force for bringing others together. His dissolution carries no tragic force, therefore, but tragedy is not Stötzl’s aim. The best of the score is known through that famous overture; otherwise, this is indeed early Wagner, the anarchic master locked into the rigid forms of a Meyerbeerian grand spectacle. Stötzl’s menacing yet comical tone turns out to be an effective gambit. And Kerl deserves a lot of credit, singing out with sustained power and thrust, but also fully invested in the production’s atmosphere. Kerl rivets the attention, even if the character often repels it.

In appearance Camilla Nylund is almost too spot-on as Irene — tall, attractive and blonde, Nylund embodies what might have once been called a vision of feminine Aryan beauty. She also physically overwhelms Kate Aldrich in the pants-role of Adriano, but Nylund doesn’t supplant Aldrich as a vocalist. Aldrich sings with great precision and passion, in a type of role that Wagner would never attempt again. While effective, Nylund lacks any special character to her soprano.

Conductor Sebastian Lang-Lessing doesn’t allow any of the score’s many edits to disrupt a potent, melodic flow. And for once a disc’s “special feature” is truly special — a 20-minute “making of” documentary that actually has interesting interviews and rehearsal glimpses that give a good sense of how a complex staging such as this comes together. Look for the moment when Nylund asks Stötzl why Irene doesn’t approach Rienzi when her libretto line states she is coming to his side, and a momentarily exasperated Stötzl points out that the production is far from literal. Whether one sympathizes with the singer’s inquiry or the director’s response, the exchange shows the kind of involvement of all parties that resulted in this unusual and frequently exciting production. Recommended.

Chris Mullins

 

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):