12 Sep 2011
Munich’s Dialogues des Carmélites
Dialogues des Carmélites is a magnificently anti-operatic opera.
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.
Two new recordings from highly acclaimed specialists Opera Rara - Gounod La Colombe and Donizetti Le Duc d'Albe.
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!’
Dialogues des Carmélites is a magnificently anti-operatic opera.
It requires little in the way of vocal prowess or even acting ability, though a great Old Prioress (such as Rita Gorr, whom I once saw in Toronto) can make her death scene a thing of terrible beauty. Much of the musical and dramatic weight falls not on the characters or even the situations but on verbal formulae—sometimes poor ones (God tries not your strength but your weakness), sometimes ones worth pondering a little (what we call chance is just God’s logic), sometimes ones of some profundity (you might wind up dying someone else’s death by mistake—an idea that touches the heart of one of the mysteries of the faith, the divine surrogacy, Christ as vicar). Poulenc may have been more interested in these thoughts than in incising characters: they’re all prophetesses, though one, the Old Prioress,, is a sibyl as tyrant, and another, Sister Constance, is a sibyl as cheerleader, and the heroine, Sister Blanche, is a sibyl as nervous wreck. Indeed the opera has something in common with another religious opera, the Stein / Thomson Four Saints in Three Acts, with its interchangeable throng of saints—Stein said her inspiration was a series of photos of a novice turning into a nun, not far from the plot of Poulenc’s opera.
This production opens on a empty grayish-blue space, in which Blanche de la Force and her father and brother converse in modern clothes—here, the secular world is simply a desert. The convent, on the other hand, is a place, a screened bare room lit with electric lights strung from bare wires. The director, Dmitri Tcherniakov, springs his first major surprise here: there are no Christian emblems anywhere; and the ostentatiously dowdy modern dress, coupled with the fact that Poulenc’s text came from a screenplay that Georges Bernanos wrote in 1949, makes you wonder if there might be something about Jews and Nazis in the director’s mind. On the other hand, there are no Jewish emblems either.
It is fascinating to watch how this tease plays out. There are two occasions when it is impossible to ignore Christian visual elements: one is when the soldiers (dressed in generic police costumes, though with German lettering on their shoulder patches) order the nuns to doff their habits (Mother Marie strips to her bra at this point); and another when an effigy of the infant Jesus is passed around (a putto doll with a sunburst around his head, neither Christian nor unchristian).
The matter isn’t settled completely until the prison turns out to be full of cylinders of poison gas, a disappointingly obvious touch, I thought. And the final scene is comically outrageous, on the level of Ken Russell’s firing off a hydrogen bomb at the end of Madama Butterfly: Sister Blanche, far from joining the nuns in their Farewell Symphony Salve regina, as they’re executed one by one, breaks down the door, saves her gasping sisters from death, and perishes in an explosion. And yet: Poulenc borrowed the music for this intensely moving final scene from a strange orchestral piece he wrote in 1937, Deux marches et un intermède, in which the first piece is labeled “Marche” (1889) and contains a dainty quotation from The Nutcracker, and the second is labeled “Marche” (1937) and is all harrow. So, Poulenc may have considered his music pertinent to the difficult political situation of a harrowing age.
Kent Nagano’s conducting is even finer than in his audio recording, gesturally intent to the highest degree. None of the singing seemed to deserve special comment, except for Susan Gritton’s Blanche, by turns sweet-voiced and heady and hysterical, and yet with a sort of implacability in the background, like the calm at the center of Blanche’s storm.