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.
At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme each season during the next 27 years to exploring the music by Mozart and his contemporaries which was being written and performed exactly 250 years previously.
The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.
An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.
On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.
This second revival of Patrice Caurier and Moshe Leiser’s 2005 production of Rossini’s Il Turco in Italia seems to have every going for it: excellent principals comprising experienced old-hands and exciting new voices, infinite gags and japes, and the visual éclat of Agostino Cavalca’s colour-bursting costumes and Christian Fenouillat’s sunny sets which evoke the style, glamour and ease of La Dolce Vita.
English Touring Opera’s 2015 Spring Tour is audacious and thought-provoking. Alongside La Bohème the company have programmed a revival of their acclaimed 2013 production of Donizetti’s The Siege of Calais (L’assedio di Calais) and the composer’s equally rare The Wild Man of the West Indies (Il furioso all’isola di San Domingo).
Mary Zimmerman’s still-fresh production is made fresher still by Shagimuratova’s glimmering voice, but the acting disappoints
When WNYC’s John Schaefer introduced Meredith Monk’s beloved Panda Chant II, which concluded the four-and-a-half hour Meredith Monk & Friends celebration at Carnegie’s Zankel Hall, he described it as “an expression of joy and musicality” before lamenting the fact that playing it on his radio show could never quite compete with a live performance.
This year’s concert of the Chicago Bach Project, under the aegis of the Soli Deo Gloria Music Foundation, was a presentation of the St. John Passion (BWV 245) at the Harris Theater in Millennium Park.
It is not an everyday opera. It is an opera that illuminates a larger verismo history.
On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.
Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to explore the possibilities of unconventional spaces and unconventional programs that the company has made its hallmark. The results were musically and theatrically thought-provoking, and left me wanting more.
Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.
Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.
Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.
The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.
On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.
There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.
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.