29 Aug 2011
Don Giovanni, Salzburg
When discussing the evolution of opera as a genre, the towering figure of Richard Wagner cannot be ignored.
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw Orchestra’s season with a slightly uneven performance of Mahler’s Resurrection Symphony. With four planned, this staple repertoire for the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful production. With magnificent voices, Andreas Schager and Dorothea Röschmann rescued Michael Thalheimer’s grotesque staging of von Weber’s Der Freischütz. At Staatsoper Unter den Linden, Alexander Soddy led a richly detailed, transparent and brilliantly glowing Berliner Staatskapelle.
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an intriguing American double bill of rarities. An experience that was well worth the trip to this desolate ghost town, remnant of industrial West Germany.
When discussing the evolution of opera as a genre, the towering figure of Richard Wagner cannot be ignored.
His radical conception of the connection between opera and philosophy is seen all throughout his work; this is especially clear in his four part Ring cycle. In the popular imagination, the Ring cycle has become the most recognizable multi-part operatic work. This is why this year’s Salzburg Festival’s presentation of all three of Mozart’s Da Ponte operas as a continuous trilogy is eyebrow-raising. Although it may seem strange on paper, Claus Guth’s choice to present these operas (Le nozze di Figaro, Don Giovanni, and Così fan tutte) as a continuous statement on the dark side of human nature makes sense. However, during the transition from creative concept to stageds production, something went awry. As a result, this production was a potpourri of fleeting inspirations.
Guth’s conception of the trilogy is to be commended for stagings of reasonable merit. His production of Così fan tutte used elements from both Figaro and Don Giovanni to present the libretto as if it were a social experiment gone wrong. His stage pictures illustrated the deteriorating relationships between the characters as well as the evil inherent in Don Alfonso’s scheme. On the whole, this gave refreshing depth to Così. The problem however, is Guth’s staging of Don Giovanni only hints at its place in the trilogy as a bridge between the mostly safe world of Figaro to the tumultuous world of Così.
Malin Byström as Donna Anna and Gerald Finley as Don Giovanni
Don Giovanni occupies a unique place in the Da Ponte trilogy. Unlike Figaro where the potential for evil is never fully in the foreground, Giovanni is evil personified. While ultimately, Giovanni is vanquished by death, the characters of Così are forced to confront their own imperfections. If Guth wanted to view the three operas as an evil trilogy, this is the direction he should have taken. Instead, he took liberties with the libretto of Don Giovanni that ultimately caused some confusion with character development as well as with the progression of the drama.
As Giovanni, Gerald Finley gave a searing performance which carries on the mantle of Sir Thomas Allen. What would have been an otherwise electric performance, was hindered by Guth’s decision to have Giovanni “fatally” wounded at the outset; limiting his ability to inhabit the strong body of the slimy villain . This gives rise to another more unfortunate question: if Don Giovanni is so near death, what makes him a force to be reckoned with? This also left me with mixed emotions regarding the character. Take for example, “Fin ch’han dal vino”, whereby Finley poured a can of beer over himself and then proceeded to shake like a ferocious wet dog. This was scary to watch. Needless to say, his singing enhanced his actions. Yet at the end of the aria, he collapsed to the floor. The message here is unclear. It would have been better if he ended the aria with the typical maniacal laugh.
As Donna Anna, Malin Byström sang in the big-voiced tradition of Sharon Sweet. The most interesting facet of her performance was her rendition of “Or sai chi l’onore”. Here Donna Anna became someone who was exposed and vulnerable due to the murder of her father, as opposed to the more typical strong woman who screams at her fiancé in order to avenge this death. However, in this production, Donna Anna played into another flaw: Giovanni’s attempted rape of Donna Anna which normally begins the opera was portrayed as a consensual affair. Under this circumstance the whole rasion d’etre of the rage of Donna Anna and the villainy of Giovanni remain unsubstantiated. Despite the opera’s tragic elements, this is still an opera buffa. A key feature of opera buffa is the unflattering portrayal of the aristocracy. In this production, the aristocracy, which is symbolized by Don Giovanni, does not experience the ridicule to the same degree as there is a deficiency of the villainy Don Giovanni.
Gerald Finley as Don Giovanni, Dorothea Röschmann as Donna Elvira and Erwin Schrott as Leporello
Dorothea Röschmann, as Donna Elvira, sang powerfully, giving an excellent case for Donna Elvira as a tragic heroine, which was strengthened in synergy by Byström’s portrayal of Donna Anna as a weak character. Christiane Karg was a girlish Zerlina who could also show great concern and substantial depth of character as necessary. Adam Plachetka, as Masetto, made it clear that he understood the evil Giovanni from the very beginning. Both Don Ottavio and Leporello, played by Joel Priesto and Adrian Sâmpetrean, respectively were admirably sung.
Under the direction of Yannick Nézet-Séguin, the Vienna Philharmonic made a fine case for the symphonic capabilities of Mozart’s score. However, his tempos were slow at the beginning, and the numerous florid accompaniments to the recitatives were distracting. That said, he brought a romantic expansiveness to certain pieces, including “Là ci darem la mano”.
It remains to be said that some of the humor of the production diminished the overall dramatic effect. The humor of Mozart’s tragic comedy should arise from situations that are detailed in the libretto, not from the staging. There were several instances, such as Giovanni taunting Zerlina and Masetto while on a swing, that were humorous, while at the same time illustrating the Don’s capacity for villainy. Yet, other gags consisted of elaborate stage movements that were difficult to follow and at times disrupted the flow of the drama. The imbalance produced by these attempts at comedy was symbolic of the overall effect of Guth’s production. In this adaptation, there were moments of inspiration that were somehow lost.