22 Sep 2011
The Passenger, ENO, London
The circumstances behind Mieczysław Weinberg’s The Passenger at the ENO, London, are extraordinary.
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw Orchestra’s season with a slightly uneven performance of Mahler’s Resurrection Symphony. With four planned, this staple repertoire for the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful production. With magnificent voices, Andreas Schager and Dorothea Röschmann rescued Michael Thalheimer’s grotesque staging of von Weber’s Der Freischütz. At Staatsoper Unter den Linden, Alexander Soddy led a richly detailed, transparent and brilliantly glowing Berliner Staatskapelle.
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an intriguing American double bill of rarities. An experience that was well worth the trip to this desolate ghost town, remnant of industrial West Germany.
The circumstances behind Mieczysław Weinberg’s The Passenger at the ENO, London, are extraordinary.
Everything about the Holocaust packs a powerful emotional punch, and rightly so.
Something insane descended on this world at that time — in Nazi-occupied lands, in Stalinist Russia, and beyond, that was so catastrophic that we must never forget. Zofia Posmysz’s original novel was based on her own experiences at Auschwitz, and Weinberg’s family perished. Posmysz appears at the end of performances and is deservedly applauded, for she symbolizes the triumph of good over evil, values we all want to believe in. This gives The Passenger such potent extra-musical experience that it’s more a communal homage than an opera.
David Pountney’s production, premiered at Bregenz, is amazing. Visually it’s so striking that it takes your breath away. This production, with designs by Johan Engels, costumes by Marie-Jeanne Lecca and lighting by Fabrice Kebour makes the best possible case for this opera. No-one can come away unmoved by this set, or by the intelligence of the direction. This production absolutely makes the case for this opera as theatrical experience.
Everything’s bleached and pristine, so unnaturally bright it hurts the eye. Like Lisa Franz herself. Franz was a camp guard in Auschwitz. Lisa and Walter have been married 15 years but he’s never known about her past. “But I did nothing bad” she says. Perhaps. However, anyone connected to Auschwitz was tainted, just by association. Even victims suffer survivor guilt. Think of Primo Levi.
The revelation was provoked by the sight of another passenger on board ship who reminds Lisa of Marta, her favoured prisoner. In the original book, Posmysz wondered what had happened to her own persecutor, who’d apparently escaped retribution, so it’s an excellent plot device, framing an account of life in camp. Perhaps this is a key to interpreting the two parts of the opera. The First Act is more consciously dramatic, while in the Second, drama is imposed on a “normal” account of a thoroughly abnormal situation.
Music and text in the First Act are didactic to an extreme, which makes for good theatre. The orchestration is loud, strident and jarring, whipping up an excited emotional response. Subtle it is not, though, for the text is unbelievably stiff. Maybe it’s the English translation, originally by David Fanning, adapted by David Pountney for this performing edition. Perhaps they’re deliberately trying to present the singers as automatons, but this undermines the very real emotions characters like these might have. In Lisa’s case this is understandable because the character is in such denial she’s hardly human. Excellent performance by Michelle Breedt. If we never get to depths with what makes Lisa what she is, it’s not through any lapse in Breedt’s performance. It’s the script. Lisa’s husband, Walter, for example, reacts to her revelation in stylized clichés. Even the sturdy Kim Begley can’t make Walter feel real. Walter’s not evil. He, too, has been betrayed by the big lie, and deserves more sympathy.
Unfortunately, characterizations in the Second Act are equally cardboard. This is by far the better part of the opera in musical terms, where superficial but emotive B-movie shock gives way to moments of lovely writing, particularly in the arias where the women sing of their pasts and express their solidarity for one another. Excellent playing — evocative basses and deeper strings, a beautiful flute line. The ENO orchestra, conducted by Richard Armstrong, at its best.
Carolyn Dobbin as Hannah and Giselle Allen as Marta
The script, however, doesn’t reflect the greater subtlety in the score. Giselle Allen plays Marta with statuesque dignity. Her stage presence fills the role, but it’s her ability that comes over, rather than the material she has to work with. Each of the other women are characterized by nationality rather than much personality, though what they sing is uplifting. Leigh Melrose.s Tadeusz is strongly sung, but the subplot of love, violin and mad waltz has more potential than is developed.
There’s a lot of Holocaust-exploitation around, but The Passenger is most certainly sincere and honourable. The problem may be in the inherent difficulty of turning subjective experience into slightly more objective art. Such events are so painful that it’s perfectly human to need to block the extremes of pain. Good intentions don’t necessarily lead to great art or depth of perception. Again, remember Primo Levi and the price he paid for his brilliance.
Another difficulty stems from the circumstances in which the opera was written. Weinberg was in the Soviet Union, a repressive regime, where political considerations prevailed over art. The aria about “the freedom of the steppes” rings hollow when you think of reality. Moreover, there was and is a long history of anti-semitism in Russia and in Poland. Different solutions to Hitler, but similar agendas regarding Jews. Obviously not all inmates of Auschwitz were Jewish, and thousands of Catholic Poles were exterminated too. They must not be forgotten. But the world associates Auschwitz with the Holocaust and with Jews, and with death factories. So it’s not easy to hear lines like “I’m a Jew, we’re meant to die”, even if it’s in context. No-one is meant to die. There are millions of individual stories, all important, but the Holocaust was so all-encompassing that it needs broad perspective.
Michelle Breedt as Lisa and Giselle Allen as Marta
Since this production was based on a new performing edition, there might have been opportunities to tighten the orchestration and especially the libretto, by Alexander Medvedev. Even Poutney has said, it was the subject tof this opera that drew him to Weinberg. What works fine in a novel does not lend itself to the restraints of opera. The Passenger is Weinberg’s masterpiece, far more daring than The Portrait, and as such deserves stringent editing. Weinberg may now be highly fashionable, but he isn’t Shostakovich. Even As a theatrical and emotive experience, The Passenger works in this production. But more depth and less breadth would make it more satisfying as opera.
Incidentally, I kept hearing Peter Grimes (particularly the Sea Interludes) in this music, so I was delighted afterwards to read David Nice’s programme notes about the influence of Benjamin Britten. Nice mentions Peter Grimes in connection with Shostakovich, but perhaps Weinberg also knew Peter Grimes and what the character meant. Another reminder that Aldeburgh was not insular and is part of a greater European tradition.