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

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 »

Performances

Ailyn Pérez as Marguerite and Bryan Hymel as Faust [Photo by Ken Howard courtesy of Santa Fe Opera]
10 Jul 2011

Faust Reaches Santa Fe Opera — And How!

The celebrated New Mexico opera festival has, in its fifty-fifth season, created a production of Charles Gounod’s 1859 masterpiece Faust, its first ever.

Charles Gounod: Faust

Marguerite: Ailyn Perez: Marthe: Jamie Barton; Siebel: Jennifer Holloway; Faust: Bryan Hymel; Valentin (thru 8/1): Matthew Worth; Valentin (from 8/8): Christopher Magiera; Mephistopheles: Mark S. Doss' Wagner: Darik Knutsen. Conductor: Frédéric Chaslin. Director: Stephen Lawless. Scenic Designer: Benoit DuGardyn. Costume Designer: Susan Willmington. Lighting Designer: Pat Collins. Choreographer: Nicola Bowie.

Above: Ailyn Pérez as Marguerite and Bryan Hymel as Faust

All photos by Ken Howard courtesy of Santa Fe Opera

 

It is a mega-show that happily falls into the success column, despite some excesses and an occasional mis-fire. This commentary is based on the second performance, July 6, with eye-watering toxic fumes and particulates still in the air from the forest fires that have been surrounding Santa Fe, forcing the Opera to hire school gymnasia for rehearsals. If circumstances have been hard on the singers and production staff, as they surely have, it is almost miraculous that so complex a show opened on time and in reasonably good order.

FST2_0130a.pngMark Doss as Méphistophélès

Here is a taste: The cassetta of jewels, directed by the composer to be left by Méphistophélès in Marguerite’s garden to impress the innocent maid as a token of Faust’s affection, was instead a large Tiffany-esque show window, wheeled in from stage right, loaded with glittering jewelry and large enough for Marguerite to enter and make her selection; even her portly duenna, Marthe, wiggled in and grabbed up whatever Marguerite left behind. When it was time for the soldiers’ chorus, they executed a smart drill, wearing long greatcoats and spiked helmets that might have betokened the Franco-Prussian war, and when the bucolic Kermesse (village fair) scene arrived, it was equipped with a Ferris wheel (history’s first was at the Chicago World’s Fair 1893), while the merry singing and dancing took place amidst a carnival midway of gaudy freak shows, with uni-cyclists, stiltists and roller-skating. In fact, Marguerite makes her entrance upon roller skates! No, I did not make that up.

FST2_2197a.pngClockwise from top: Bryan Hymel as Faust, Mark Doss as Méphistophélès, Gabrielle Zucker as Helen of Troy, Kessa Huey as Cleopatra, Kristin Osler as Manon, Heidi Kershaw Carmen, Hallie Brenner Dalsimer as Salome and Jasmine Quinsier as Delilah

Action was constant, and with much busy detail, and if it was anachronistic, well never mind! One had to chuckle that Marguerite, as she sang the ballad of the King of Thulé, avidly worked at her humming Singer sewing machine rather than the traditional spinning wheel. The production continued in such style for much of the evening. It must have been exhausting and expensive to mount. While there were small moments that needed tightening or fine-tuning, I expect by the full repertory run in August all will be well polished to the satisfaction of those seeking gaudy entertainment, even if the first three acts were combined into a 90-minute Marathon before the single intermission.

Frédéric Chaslin, the French conductor, pianist and composer, in his second year as principal conductor at Santa Fe, proved the musical jewel of the evening. His orchestra was alert, accurate and highly responsive to his direction. He did linger now and then with a slow tempo, but the waltz scene and later the rarely played ballet of courtesans, ticked along crisply and with élan. I hope we hear a lot of Chaslin in his native opera repertory. He’s the real thing! And how very pleasant to hear French opera with a Frenchman in the pit. Bravo!

Santa Fe has always been a company that seemed to spend more on production values than on vocal talent, but that alone cannot account for a certain mediocrity that beset the singing cast, with one exception: Ailyn Pérez in a strongly sung musically solid performance of Marguerite, the star of the show. Her French pronunciation had its Hispanic moments, but the free flow of tone, her ease in the top soprano register, and her energy and ability to enter into hyper-action staging won deserved applause. Basso Mark Doss, senior member of the cast appropriately appearing as Méphistophélès, was totally into his role, aided by experience and purpose in his portrayal; vocally, he was underpowered and was too often unheard over the orchestra. I would have rather heard him as Leporello in the Mozart opera.

FST2_1877a.pngBackground left: Matthew Worth as Valentin, Jennifer Holloway as Siébel and Chorus, Foreground: Ailyn Pérez as Marguerite

Tenor Mark Hymel had the high-lying phrases for his demanding title role and gave pleasure with his well achieved high tones, even if his bright tenor was a bit lacking in body and seemed nonexistent in the lower register. Few tenors today are reliable in this classic tenor role once graced by the likes of Jean de Reszke and Jussi Bjoerling (they don’t make ‘em like that any more). A young lyric baritone, Matthew Worth, qualified as a French bariton martin, with a pleasant light voice suited to such as Pelléas or Massenet’s Juggler, Jean. Worth was not equipped with the kind of burly vocal weight needed to make Valentine credible. He played the part well and was touching in his scenes with Marguerite.

In smaller but important roles, Jennifer Holloway was effective as Marguerite’s teenage suitor Siebel, here given two arias rather than only the usual Flower Song, while the greedy duenna Marthe was ably presented by mezzo Jamie Barton, though Faust’s wine-loving friend Wagner, was only faintly heard as sung by another too-light baritone, Darik Knutsen. The 2200-seat Santa Fe house is a kind host to larger voices that project well – such are much needed.

The antic stage direction was by the noted Stephen Lawless aided by Belgian scenic designer Benoit Dugardyn, who made good use of the full stage and whose work was colorful and pungent, even if it did consist mainly of props. It all worked!

FST2_0294a.pngThe Fair (Act II)

The splendid choral work, lots of it in this show, was directed by the hard- working and able Susanne Sheston. The mixed-period costume design was by Sue Wilmington, sometimes a puzzle but often quite attractive. Unusually effective lighting was well designed by Pat Collins, while the expertly directed choreography and actor movement was by Nocola Bowie with Lawless. The show as a whole was visually appealing, if at times the ideas behind it all were a bit obscure. If unremitting action counts for success, we saw success.

It would not surprise me if stage director Lawless and General Director Charles MacKay, whether they would admit it or not, were tempted to mount an all-out rather over-produced rendition of Gounod’s lyric classic in lieu of really memorable singing. How many in any given audience really know how Faust was sung in the so-called Golden Age of opera, and how difficult it is in the 21st Century to find a vocally ideal cast for an opera that was composed when Rossini and Meyerbeer were still alive? I cannot fault them, for theirs is the style of the time – the time of regieoper, to use the forbidding German term, when the intention of the stage director is often preferred to that of the original composer and librettist. At least Santa Fe’s first Faust was sung in the original French language (pace St. Louis); was at one level reasonably entertaining with comic moments; beautifully played by an expert orchestra and conductor, with a cast that was of average capability and produced no embarrassing moments. In such terms, the 2011 Faust was a huge improvement over the failings of Santa Fe’s curious 2010 Tales of Hoffman. More French repertory with Maitre Chaslin, s’il vous plait!

J. A. Van Sant © 2011

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):