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.
Having enjoyed superb singing by a young cast of soloists in Classical Opera’s UK premiere of Jommelli’s Il Vogoleso the previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final at the Wigmore Hall confirmed the strength and depth of talent possessed by the young singers studying in and emerging from our academies and conservatoires.
On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.
Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.
London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.
Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.
On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.
New Co-Production Tristan und Isolde with Metropolitan: Simon Rattle and Westbroek electrify Treliński’s Opera-Noir.
In an operatic world crowded with sure-fire bread and butter repertoire, Opera San Jose has boldly chosen to lavish a new production on a dark horse, Andre Previn’s A Streetcar Named Desire.
Choral symphony, oratorio, symphonic poem — Berlioz’s Roméo et Juliette does not fit into any mould. It has the potential to work as an opera-ballet, but incoherent storytelling and uninspired conducting undermined this production.
When Kasper Holten took the precaution of pre-warning ticket-holders that the Royal Opera House’s new production of Lucia di Lammermoor featured scene portraying ‘sexual acts’ and ‘violence’, one assumed that he was aiming to avert a re-run of the jeering and hectoring that accompanied last season’s Guillaume Tell. He even went so far as to offer concerned patrons a refund.
These are five very different reviews by students at the University of Maryland on its Opera Studio production of Regina — an interesting, informative and entertaining read . . .
‘Remember me, the one who is Pia;/ Siena made me, Maremma undid me.’ The speaker is Pia de’ Tolomei. She appears in a brief episode of Dante’s Divine Comedy (Purgatorio V, 130-136) which was the source for Gaetano Donizetti’s Pia de’ Tolomei - by way of Bartolomeo Sestini’s verse-novella of 1825.
"The large measure of formalism which forms the basis of De Materie does not in itself offer any guarantee that the work will be beautiful," says Dutch composer Louis Andriessen of his four-movement opera.
On April 1, 2016, Arizona Opera presented Falstaff by Giuseppe Verdi (1813-1901) and Arrigo Boito (1842-1918) in Phoenix. Although Boito based most of his libretto on Shakespeare’s The Merry Wives of Windsor, he used material from Henry IV as well. Verdi wrote the music when he was close to the age of eighty. He was concerned about his ability at that advanced age, but he was immensely pleased with Boito’s text and decided to compose his second comedy, despite the fact that his first, Un giorno di regno, had not been successful.
The brand new SF Opera Lab opened last month with artist William Kentridge’s staged Schubert Winterreise. Its second production just now, Svadba-Wedding — an a cappella opera for six female voices — unabashedly exposes the space in a different, non-theatrical configuration.
One may think of Tosca as the most Roman of all operas, after all it has been performed at the Teatro Costanzi (Rome’s opera house) well over a thousand times since 1900. Though equally, maybe even more Roman is Hector Berlioz’ Benvenuto Cellini that has had only a dozen or so performances in Rome since 1838.
Roll up! A new opera by Handel is to be performed, L’Elpidia overo li rivali generosi. It is based upon a libretto by Apostolo Zeno with music by Leonardo Vinci - excepting a couple of arias by Giuseppe Orlandini and, additionally, two from Antonio Lotti’s Teofane (which the star bass, Giuseppe Maria Boschi , on bringing with him from the Dresden production of 1719).
Radvanovsky in New York, Devia in Genoa — Donizetti queens are indeed in the news! Just now in Genoa Mariella Devia was the Elizabeth I for her beloved Roberto Devereux in a new trilogy of Donizetti queens (Maria Stuarda and Anne Bolena) directed by baritone Alfonso Antoniozzi.
‘All men become like their mothers. That is their tragedy. No man does. That is his.’ ‘Is that clever?’ ‘It is perfectly phrased!’
Evolving in Mahler’s Third: Dudamel and L.A. Philharmonic’s impressive adaption to the Concertgebouw
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.