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.
Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.
An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.
On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.
Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.
On Friday February 20, 2015, San Diego Opera presented Mozart’s Don Giovanni in a production by Nicholas Muni originally seen at Cincinnati Opera.
In a production first seen in Houston several years ago, and now revised by its director John Caird, Puccini’s Tosca has returned to Lyric Opera of Chicago with two casts, partially different, scheduled into March of the present season.
Henri Dutilleux’s music has its devotees. I am yet to join their ranks, but had no reason to think this was not an admirable performance of his song-cycle Correspondances.
In 1980, the Metropolitan Opera commissioned composer John Corigliano to write an opera celebrating the company’s one-hundredth anniversary. It was to be ready in 1983.
English National Opera’s revival of Peter Konwitschny’s production of Verdi’s La Traviata had many elements in common with the production’s original outing in 2013 (The production was a co-production with Opera Graz, where it had debuted in 2011).
You might believe you could go to an opera and take in what you see at face value. But if you did that just now in Lyon you would have had no idea what was going on.
I wonder whether we need a new way of thinking — and talking — about operatic ‘revivals’. Perhaps the term is more meaningful when it comes to works that have been dead and buried for years, before being rediscovered by subsequent generations.
Hopefully this brilliant new production of Iphigénie en Tauride from the Grand Théâtre de Genève will find its way to the new world now that Gluck’s masterpiece has been introduced to American audiences.
Tristan first appeared on the stage of the Théâtre du Capitole in 1928, sung in French, the same language that served its 1942 production even with Wehrmacht tanks parked in front of the opera house.
Arizona Opera presented Eugene Onegin during and 1999-2000 season and again on February 1 of this year as part of the 2014-2015 season. In this country Onegin is not a crowd pleaser like La Bohème or Carmen, but its story is believable and its music melodic and memorable. Just hum the beginning of the “Polonaise” and your friends will know the music, if not where it comes from.
Florian Boesch and Roger Vignoles at the Wigmore Hall in Ernst Krenek’s Reisebuch aus den österreichischen Alpen. Matthias Goerne has called Hanns Eisler’s Hollywooder Liederbuch the Winterreise of the 20th century. Boesch and Vignoles showed how Krenek’s Reisebuch is a journey of discovery into identity at an era of extreme social change. It is a parable, indeed, of modern times.
Lyric Opera of Chicago’s new Anna Bolena, a production shared with Minnesota Opera, features a distinguished cast including several notable premieres.
On Tuesday January 27, 2015, San Diego Opera presented Giacomo Puccini's La Boheme. It is the opera with which the company opened in 1965 and a work that the company has faithfully performed every five years since then.
Last year we tracked Orfeo on his desperate search for his lost Euridice, through the labyrinths and studio spaces of Central St Martin’s; this year we were plunged into Macbeth’s tragic pursuit of power in the bare blackness of the CSM’s Platform Theatre.
Béla Bartók’s only opera, Duke Bluebeard’s Castle, composed in 1911 and based upon a libretto by the Hungarian writer Béla Balázs, was not initially a success.
Káťa Kabanová is, they say, Janáček's first mature opera — it comes a mere 20 years after his masterpiece, Jenůfa.
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.