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.
Twelve years after Opera Holland Park's first production of Francesco Cilea's Adriana Lecouvreur, the opera made a welcome return.
The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre. The world of commercial public opera had only just dawned with the opening of the Teatro San Cassiano in Venice in 1637 and for the first time opera became open to all who could afford a ticket, rather than beholden to the patronage of generous princes. Monteverdi took full advantage of the new stage and at the age of 73 brought all his experience of more than 30 years of opera-writing since his ground-breaking L’Orfeo (what a pity we have lost all those works) to the creation of two of his greatest pieces, Ulysses and then his final masterpiece, Poppea.
Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission. It is a sad state of affairs when a season that includes both Boulevard Solitude and Moses und Aron is considered exceptional, but it is - and is all the more so when one contrasts such seriousness of purpose with the endless revivals of La traviata which, Die Frau ohne Schatten notwithstanding, seem to occupy so much of the Royal Opera’s effort. That said, if the Royal Opera has not undertaken what would be only its second ever staging of Schoenberg’s masterpiece - the first and last was in 1965, long before most of us were born! - then at least it has engaged in a very welcome ‘WNO at the Royal Opera House’ relationship, in which we in London shall have the opportunity to see some of the fruits of the more adventurous company’s endeavours.
If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.
Composed during just a few weeks of the summer of 1926, Janáček’s Slavonic-text Glagolitic Mass was first performed in Brno in December 1927. During the rehearsals for the premiere - just 3 for the orchestra and one 3-hour rehearsal for the whole ensemble - the composer made many changes, and such alterations continued so that by the time of the only other performance during Janáček’s lifetime, in Prague in April 1928, many of the instrumental (especially brass) lines had been doubled, complex rhythmic patterns had been ‘ironed-out’ (the Kyrie was originally in 5/4 time), a passage for 3 off-stage clarinets had been cut along with music for 3 sets of pedal timpani, and choral passages were also excised.
With the conclusion of the ROH 2013-14 season on Saturday evening - John Copley’s 40-year old production of La Bohème bringing down the summer curtain - the sun pouring through the gleaming windows of the Floral Hall was a welcome invitation to enjoy a final treat. The Jette Parker Young Artists Summer Showcase offered singers whom we have admired in minor and supporting roles during the past year the opportunity to step into the spotlight.
Many words have already been spent - not all of them on musical matters - on Richard Jones’s Glyndebourne production of Der Rosenkavalier, which last night was transported to the Royal Albert Hall. This was the first time at the Proms that Richard Strauss’s most popular opera had been heard in its entirety and, despite losing two of its principals in transit from Sussex to SW1, this semi-staged performance offered little to fault and much to admire.
Twenty years ago stage director Christopher Alden introduced Rossini’s then forgotten comedy to Southern California audiences in a production that is still remembered. In Aix Alden has revisited this complex work that many critics now consider Rossini’s greatest comedy.
The BBC Proms 2014 season began with Sir Edward Elgars The Kingdom (1903-6). It was a good start to the season,which commemorates the start of the First World War. From that perspective Sir Andrew Davis's The Kingdom moved me deeply.
One is unlikely to come across a cast of Figaro principals much better than this today, and the virtues of this performance indeed proved to be primarily vocal.
That’s A Winter’s Journey and A Night of Mourning for metteurs-en-scène William Kentridge (South Africa) and Katie Mitchell (Great Britain), completing the clean sweep of English language stage directors for the Aix Festival productions this year.
Assured elegance, care and thoughtfulness characterised tenor James Gilchrist’s performance of Schubert’s Schwanengesang at the Wigmore Hall, the cycles’ two poets framing a compelling interpretation of Beethoven’s An die ferne Geliebte.
‘Music for a while shall all your cares beguile.’ Dryden’s words have never seemed as apt as at the conclusion of this wonderful sequence of improvisations on Purcell’s songs and arias, interspersed with instrumental chaconnes and toccatas, by L’Arpeggiata.
The acoustic of the gigantic Théâtre Antique Romain at Orange cannot but astonish its nine thousand spectators, the nearly one hundred meter breadth of the its proscenium inspires awe. There was excited anticipation for this performance of Verdi’s first masterpiece.
Opera Theatre of Saint Louis has once again staked claim to being the summer festival “of choice” in the US, not least of all for having mounted another superlative world premiere.
In past years the operas of the Aix Festival that took place in the Grand Théâtre de Provence began at 8 pm. The Magic Flute began at 7 pm, or would have had not the infamous intermittents (seasonal theatrical employees) demanded to speak to the audience.
High drama in Aix. Three scenarios in conflict — those of G.F. Handel, Richard Jones and the intermittents (disgruntled seasonal theatrical employees). Make that four — mother nature.
The programme declared that ‘music, water and night’ was the connecting thread running through this diverse collection of songs, performed by soprano Lucy Crowe and pianist Anna Tilbrook, but in fact there was little need to seek a unifying element for these eclectic works allowed Crowe to demonstrate her expressive range — and offered the audience the opportunity to hear some interesting rarities.
‘Only make the reader’s general vision of evil intense enough and his own experience, his own imagination, his own sympathy will supply him quite sufficiently with all the particulars.
It is not often that concept, mood, music and place coincide perfectly. On the first night of Opera della Luna’s La Fille du Regiment at Iford Opera in Wiltshire, England we arrived with doubts (rather large doubts it should be admitted)as to whether Donizetti’s “naive and vulgar” romp of militarism and proto-feminism, peopled with hordes of gun-toting soldiers and praying peasants, could hardly be contained, surely, inside Iford’s tiny cloister?
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.