29 Aug 2011
Don Giovanni, Salzburg
When discussing the evolution of opera as a genre, the towering figure of Richard Wagner cannot be ignored.
Opera Philadelphia deserves congratulations on yet another coup. The company co-commissioned Cold Mountain, an opera by Jennifer Higdon based on Gene Scheer’s adaptation of Charles Frazier’s celebrated Civil War epic.
For their first of two recitals at the Wigmore Hall, Christian Gerhaher and Gerold Huber devised an interesting programme - popular Schubert mixed with songs by Wolfgang Rihm and by Huber himself.
There are not many opera productions that you would cross oceans to see. Graham Vick’s Götterdämmerung in Sicily however compelled such a voyage.
Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.
Robert Ashley’s opera-novel Quicksand makes for a novel experience
One of the leading Russian composers of his generation, Alexander Raskatov’s reputation in the UK and western Europe derives from several, recent large-scale compositions, such as his reconstruction of Alfred Schnittke’s Ninth Symphony from a barely legible manuscript (the work was first performed in 2007 in the Dresden Frauenkirche by the Dresden Philharmonic under Dennis Russell Davies), and his 2010 opera A Dog’s Heart, based on Mikhail Bulgakov’s satire (which was directed by Simon McBurney at English National Opera in 2010, following the opera’s premiere at Netherlands Opera earlier that year).
I’m not sure that St John’s Smith Square was the most appropriate venue for Opera Danube’s latest production: Jacques Offenbach’s satirical frolic, Orpheus in the Underworld.
This nasty little opera evening in Lyon lived up to the opera’s initial reputation as pure pornophony. This is the erotic Shostakovich of the D minor cello sonata, it is the sarcastic and complicated Shostakovich of The Nose . . .
During December 2015 and presently in January Lyric Opera of Chicago has featured the world premiere of the opera Bel Canto, with music by Jimmy López and libretto by Nilo Cruz, based on the novel by Ann Patchett.
Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.
The title role is a deciding factor in Madama Butterfly. Despite a last-minute conductor cancellation, last Saturday’s concert performance at the Concertgebouw was a resounding success, thanks to Lianna Haroutounian’s opulent, heart-stealing Cio-Cio-San.
With this performance of vocal and instrumental works composed by the 10-year-old Mozart and his contemporaries during 1766, Classical Opera entered the second year of their 27-year project, MOZART 250, which is designed to ‘contextualise the development and influences of [sic] the composer’s artistic personality’ and, more audaciously, to ‘follow the path that subsequently led to some of the greatest cornerstones of our civilisation’.
Luca Pisaroni and Wolfram Rieger were due to give the latest installment in the Wigmore Hall's complete Schubert songs series, but both had to cancel at short notice. Fortunately, the Wigmore Hall rises to such contingencies, and gave us Benjamin Appl and Jonathan Ware. Since there's a huge buzz about Appl, this was an opportunity to hear more of what he can do.
The phrase ‘Sunday afternoon concert’ may suggest light, post-prandial entertainment, but soprano Gemma Lois Summerfield and her accompanist, Simon Lepper, swept away any such conceptions in this demanding programme at St. John’s Smith Square.
When, o when, will someone put Peter Sellars and his compendium of clichés out of our misery?
Having recently followed some by-ways through the music of Purcell, Monteverdi and Cavalli, L’Arpeggiata turned the spotlight on traditional folk music in this characteristically vibrant and high-spirited performance at the Wigmore Hall.
Edward Gardner brought all his experience as a choral and opera conductor to bear in this stirring performance of Michael Tippett’s A Child of Our Time at the Barbican Hall, with a fine cast of soloists, the BBC Symphony Orchestra and BBC Symphony Chorus.
‘Apt for voices or viols’: eager to maximise sales among the domestic market in Elizabethan England, publishers emphasised that the music contained in collections such as Thomas Morley’s First Book of Madrigals to Four Voices of 1594 was suitable for performance by any combination of singers and players.
It was a single title but a double bill and there was far more happening than Gordon Getty and Claude Debussy. Starting with Edgar Allen Poe.
For its latest production of the current season Lyric Opera of Chicago is presenting Franz Lehár’s The Merry Widow (Die lustige Witwe) featuring Renée Fleming /Nicole Cabell as the widow Hanna Glawari and Thomas Hampson as Count Danilo Danilovich.
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.