12 Jul 2011
Cendrillon, Royal Opera
Words, stories, books — the gateway to a world of fantasy in which anything is possible.
The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission
Houston Grand Opera commissioned Cruzar la Cara de la Luna from composer José “Pepe” Martínez, music director of Mariachi Vargas de Tecalitlán, who wrote the text together with Broadway and opera director Leonard Foglia. The work had its world premier in 2010. Since then, it has traveled to several cities including Paris, Chicago, and San Diego.
“Why should I go to hear Plácido Domingo” someone said when Verdi’s I due Foscari was announced by the Royal Opera House. There are very good reasons for doing so.
Music Theatre Wales presented the world premiere of Philip Glass’s The Trial (Kafka) last night at the Linbury, Royal Opera House. Music Theatre Wales started doing Glass in 1989. Their production of Glass’s In the Penal Colony in 2010 was such a success that Glass conceived The Trial specially for the company.
To say that the English Concert’s performance of Handel’s Alcina at the Barbican on 10 October 2014 was hotly anticipated would be an understatement. Sold out for weeks, the performance capitalised on the draw of its two principals Joyce DiDonato and Alice Coote and generated the sort of buzz which the work did at its premiere.
Lyric Opera of Chicago opened its sixtieth anniversary season with a new production of Mozart’s Don Giovanni directed by Artistic Director of the Goodman Theater, Robert Falls.
It was a little over two years ago that I heard Sir Colin Davis conduct the Berlioz Requiem in St Paul’s Cathedral; it was the last time I heard — or indeed saw — him conduct his beloved and loving London Symphony Orchestra.
Part of their Liberty or Death season along with Rossini’s Mose in Egitto and Bizet’s Carmen, Welsh National Opera performed David Pountney’s new production of Rossini’s Guillaume Tell (seen 4 October 2014).
Welsh National Opera’s production of Rossini’s Mose in Egitto was the second of two Rossini operas (the other is Guillaume Tell) performed in tandem for their autumn tour.
In Monteverdi’s first Venetian opera, Il Ritorno d’Ulisse (1641), Penelope’s patient devotion as she waits for the return of her beloved Ulysses culminates in the triumph of love and faithfulness; in contrast, in L’incoronazione di Poppea it is the eponymous Queen’s lust, passion and ambition that prevail.
After the triumphs of love, the surprises: Les Paladins, under their director Jérôme Correas, and soprano Sandrine Piau are following their tour of material from their 2011 CD, ‘Le Triomphe de L’amour’, with a new amatory arrangement.
At the ENO, Puccini's La fanciulla del West becomes The Girl of the Golden West. Hearing this opera in English instead of Italian has its advantages, While we can still hear the exotic, Italianate Madama Butterfly fantasies in the orchestra, in English, we're closer to the original pot-boiler melodrama. Madama Biutterfly is premier cru: The Girl of the Golden West veers closer, at times, to hokum. The new ENO production gets round the implausibility of the plot by engaging with its natural innocence.
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.
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