14 Aug 2011
Les Contes d’Hoffmann, Wolf Trap
For opera lovers who are serious enough to even think of a performing career, the path is an arduous one.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
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.
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.
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.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
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.
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.
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.
'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.
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.
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.
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.
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.
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.
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.
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.
For opera lovers who are serious enough to even think of a performing career, the path is an arduous one.
The modern operatic world is extremely competitive and the audience, while widening due to the recent plethora of audience-building initiatives, is still to an extent comprised of a small portion of the general population who believes in this art form with something akin to religious fervor. The chances of success are small, yet still, the prospect of immortal glory, as won by Joan Sutherland or Beverly Sills, is tantalising. This is where organisations such as Wolf Trap Opera serve an invaluable purpose in the modern classical music world. Like vocal competitions or alliances between fine art academies and performing institutions, it is designed to outfit participants with the skills to succeed in the modern operatic world.
This season, Wolf Trap closes with Offenbach’s popular opéra fantastique, Les Contes d’Hoffmann. At first glance, Les Contes d’Hoffmann may seem like an improper vehicle through which to present student singers. Its principal roles verge on the epic, each placing a unique set of demands on the singer, which seem to increase as the opera progresses.
The opera’s performance history is convoluted. After Offenbach finished the opera itself, the delay required for him to rewrite and raise the tessituras of the four heroines was quite literally fatal; he died before he was able to orchestrate the opera. This, combined with a string of fires in opera houses performing the piece, leaves modern organizations with a dearth of materials and a wealth of questions. I am happy to report that despite it all, Wolf Trap’s decision to perform Les Contes d’Hoffmann was a risk that, on the whole, paid off.
Conductor Israel Gursky managed to bring out all facets of Offenbach’s majestic score. His reading, which presented the opera in the tradition of French Grand Opera from the turn of the 20th century, was not at all hindered by the decision to use spoken dialogue instead of recitative. At times, his choice of tempo seemed a little slow, as in the case of Councilor Lindorf’s opening aria, as well as the ever-popular “Les Oiseaux dans la Charmille” by Olympia. However, in each case, he seemed to sacrifice speed in order to gain a deeper understanding, either of the character or of the music in general.
Wolf Trap’s production is commendable for several reasons. Offenbach had originally conceived the four heroines to be sung by a single soprano. Since the opera’s creation, few sopranos, Sills and Sutherland among them, have done so. Personally, I prefer each heroine to be sung by a different soprano, as each character is so complex, both vocally and psychologically, that it is very hard to imagine a soprano so gifted as to be able to bring out the complexities of each character. Additionally, the decision to divide the heroines among four sopranos allowed for more students to participate.
In this case, each heroine did a commendable job. As Olympia, coloratura Jamie-Rose Guarrine sang with polish, yet the timbre of her voice suggested that she was capable of doing more than just a series of vocal acrobatics. Although, it must be said that she lacked physical presence. She lacked the precise physical movements needed to execute the role, making this Olympia more humanoid than automaton.
As Antonia, Marcy Stonikas sang with power and lyricism. Toward the end of the act’s closing trio, she seemed to lose stamina, but recovered. Her capable physical acting deserves mention because she was 37 weeks pregnant while doing it.
Eve Gigliotti made for a noteworthy Guilietta, as she is perhaps the most lyrical singer I’ve heard in the role. At times, her acting bordered on the demonic. She clearly seemed to relish Hoffmann’s pain, which only turned to sorrow after Hoffmann killed her beloved companion, Pitichinaccio.
There were several caprimarios who deserve mention. Edward Mout, as Frantz, commanded attention, both vocally and physically. This is quite extraordinary, as Frantz doesn’t seem to have a purpose outside of comic relief. Kenneth Kellogg made a strong vocal case for both Crespel and Schlémil.
This production can also take credit for presenting a version of Hoffmann that was true to the work’s dramatic potential, while at the same time unearthing other previously unseen complexities. The acts followed the order of Olympia, Antonia, then Guilietta. Some Hoffmann scholars, like Richard Bonynge, believe in placing the Antonia act last as a way of strengthening Hoffmann’s belief in idealized poetic love. However, placing the courtesan last emphasizes the idea that Hoffmann’s three relationships form a trajectory that rises and falls.
This strengthens the contrast between poetic idealism and reality, and Nathaniel Peake brought this aspect of the leading role to life with painstaking clarity. He also deserves credit for controlling his stamina through this marathon role, not to mention singing a part whose performance history includes Plácido Domingo and Nikolai Gedda. His strong performance made one forget his occasional difficulties with the French language.
The crowning achievement of this production is the conception of Niklausse, played so deftly by Catherine Martin. As Hoffmannn’s poetic muse, she was far more than the androgynous confidant of other productions. Like Craig Irvin, who played the four villians, she brought a mix of severity and comedy to the role. One got the feeling that she was along for the ride waiting for Hoffmannn to realize that the woman who was there all along was the love of his life. Hoffmannn’s realization at the end brought a sense of closure that other productions lack.
The works of E.T.A Hoffmannn are no stranger to classical music. Tchaikovsky based his ballet, The Nutcracker, on Hoffmannn’s work as well. The problems these works present depends largely on the composer’s ability to see past the maze of lifelike automatons, demonic courtesans, and oversized rats to the essential humanity of the story being told. Wolf Trap Opera can congratulate itself on meeting all the demands that Les Contes d’Hoffmann poses and presenting a fluid, dramatic conception of the opera, which is perhaps the most human yet.