12 Jul 2011
Cendrillon, Royal Opera
Words, stories, books — the gateway to a world of fantasy in which anything is possible.
Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.
Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.
On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman theatre of Aspendos near Antalya in southern Turkey is not an arena or amphitheatre at all, so there are not nearly as many ghosts of gored gladiators or dismembered Christians to disturb the contemporary feng shui as in other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014 by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
Words, stories, books — the gateway to a world of fantasy in which anything is possible.
This is the starting point for Laurent Pelly’s vision of the Cinderella story — this, and the substantial faithfulness with which Massenet’s opera adheres to the original Perrault fairytale. The opening tableau is the opening pages of the Perrault, enlarged to wall-size; a small room soon grows into a bigger room, and a bigger room still. Soon, words are everywhere. As Lucette — the eponymous Cendrillon — falls sadly asleep in the middle of the first act, the stars come out — pin-pricks in the text on the wall, just where the dot of every ‘i’ should be. Next, ten or so Lucette-clones appear with lamps in their hands, as if making the stars dance, and thus the text begins to come literally to life.
Alice Coote as Le Prince Charmant
The clones turn out to be the pet spirits of Lucette’s Fairy Godmother, who get sent off to prepare Cendrillon’s gown and carriage and horses. Of course it is handy having ten singers and dancers running round the stage who look exactly like the heroine — an eminently practical way of ensuring that the real Cinders can be smuggled off unnoticed for her quick change.
The word-theme continues throughout, with Cendrillon’s carriage being made of the letters of the word “Carosse” (drawn by four dancers dressed as horses) and the giant golden gates of the palace being formed of the letters of the phrase “Les portes du palais”. Some would think this slavish, but I simply got a strong and comforting sense that Pelly has a real, affectionate love for this children’s tale.
The princesses at the ball were a grotesque array of cartoonish ladies in red, all with exaggerated shapes and figures (none more so than Cendrillon’s unpleasant stepmother and sisters, the former resplendent in what looked more like a piece of amply-upholstered furniture than a dress) and many looking like Grecian urns or elaborate topiary. If I hadn’t known that the production dates back to 2006 (in Santa Fe) I would have thought them a reference to the Queen of Hearts in the Royal Ballet’s recent Alice’s Adventures in Wonderland. Cendrillon is, after all, one of the few French 19th-century operas where a ballet scene fits nicely into the story without having to have an opportunity created for its existence, and it is telling that as I left the opera house at the end of the evening, I had strains of various divertissements from The Nutcracker floating through my mind along with snippets of Massenet.
If the visual inventiveness lapses in the early part of Act 3, all is restored in the curious ‘Fairy Oak’ scene (an invention of Massenet and his librettist) in which the stage is transformed into a rooftop scene (chimneys replacing the forest trees of the stage directions) which at first conjured up the chimney-sweep scene from Mary Poppins. But later a more apt comparison occurred to me; it’s the sort of scene generally seen from the garret window in La boheme. This is more relevant than you might think, as despite the supposedly fantastical context, it becomes one of the opera’s most genuinely human scenes, climaxing in a rapturous love duet in which the Prince’s voice joins Lucette’s in glorious unison before parting into harmony.
It was in this duet, and to a lesser extent their other scenes together, that the two stunning mezzo leads were showcased to best effect. The voices worked wonderfully well together — Joyce DiDonato’s tone sweet and soprano-like in the title role, and Alice Coote’s velvety, plush shades as an ardent Prince Charming. Individually of course they were just as good. Coote has plenty of experience in trouser roles, and not merely because of her voice type — her credibility as a hot-blooded youth is impeccable, evidently the result of meticulous observation. Meanwhile, DiDonato had a handful of high pianissimi which didn’t quite come off, despite the fact that the high-lying role generally seems to sit very comfortably in her voice, but she was a delightful heroine, making much of the understated, attractive music Massenet gives her.
Joyce DiDonato as Cendrillon
DiDonato was equally touching in the scenes with her father, Pandolfe, sung by the French bass-baritone Jean-Philippe Lafont. Lafont makes much of the character, but his voice is evidently far beyond its peak, grating and wobbly.
In less distinguished company, the great Polish contralto Ewa Podleś as Madame de la Haltière would have walked away with the entire show. Her lower register remains earth-shaking, but more to the point, she understands the critical importance of playing farce straight. Her final declamation of ‘Ma fille!’ — when she finally sees fit to acknowledge Lucette as a daughter — brought the house down.
Pelly generously makes this latter-day change of heart a result of an intervention by the Fairy, rather than a cynical acknowledgement ot Lucette’s sudden acquisition of status and glamour. And what an accomplished Fairy we had in the Cuban-American soprano Eglise Gutiérrez. She is confident and ravishing in spinning high lines, and her trill is so impressive that I will forgive her the occasional intonation lapse in staccato coloratura. Her poised and alluring stage presence put me in mind of Tytania from Britten’s Dream; she was given a bit of an edge with a modern, spiky hairdo, and I wouldn’t have been surprised to see a pair of customised Doc Marten boots under her lavish silver-grey ballgown.
Ewa Podleś as Madame De La Haltière
ROH Young Artists Madeleine Pierard and Kai Rüütel were well-matched as the two stepsisters, Noémie and Dorothée; in the first scene (in which, incidentally, they appeared to be dressed as pastel-coloured lampshades) their diction was indistinct, but this improved as the evening went on.
Bertrand de Billy’s conducting, a couple of lapses in ensemble aside, had energy and sensitivity. But the Fairy clearly thinks she can do a better; atop a giant pile of books, like a Valkyrie calling from a mountain-top, she hijacks the task of conducting the final few bars to make quite, quite sure of her happy ending.
Ruth Elleson © 2011