27 Oct 2011
Béatrice et Bénédict, Opera Boston
How is one to write a Romantic opera?
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.
How is one to write a Romantic opera?
It is a question that Berlioz, to his frustration, never quite answered. In his youth, bel canto held the stage, and the tone was set by Rossini and Bellini; by his maturity, grand opera and its rather different conventions had taken over. How was a composer of the highest aspirations to structure a work that was to give rein to experience and perception? The reliable but chilly structures of the Baroque and the da capo aria, with its implied assurance that the world was to return to the given social order, just as the singer was bound to return to the first melody, were not going to prove satisfactory; the very different example of the opera-comique in France, with its bumptious mixture of popular entertainment and cultivated composition was, for a composer like Berlioz, little inspiration. The failures of Schubert’s Fierrabras and Schumann’s Genoveva as dramatic vehicles functioned as a kind of warning, and the silence of Brahms — his profound disinterest in writing for the stage — was instructive. Only Weber’s Freischutz, and, to a lesser extent, his Euryanthe and Oberon, established and retained places on the international stage, and in the allegiances of popular and learned auditors.
By the time Berlioz wrote Béatrice et Bénédict, he had endured a lifetime of frustration and misunderstanding in opera. No composer has ever loved drama more, or more instinctively, than Berlioz, yet he had the greatest difficulties — many self-imposed — in creating vehicles that played as drama. Benvenuto Cellini is a mess of color and action; La Damnation de Faust, despite recent efforts by the Metropolitan Opera, is almost inert dramatically; Les Troyens is a magnificent masterpiece, but long, unwieldy, and intermittently static. Beatrice and Benedict, which he wrote in the early 1860s, is an odd creation by almost any standard. The story, extracted by Berlioz himself from Shakespeare’s Much Ado About Nothing, is a light, almost eventless romantic comedy. The heart of Much Ado is a fundamentally misogynistic tale of deception and wronged virtue: Claudio is suborned by Don John into believing that his betrothed, Hero, has been untrue to him. These unhappy lovers, on their winding way back to the altar, are accompanied by the low-comedy antics of the local constabulary, and, most of all, by Hero’s cousin Beatrice and Claudio’s boon companion, Benedick, whose repeated slanging matches signal, to everyone but themselves, a deep underlying sexual tension and romantic affection. These two have long since crowded the disquieting principal plot, which is a story only an academic could love — as long ago as the 1630s, King Charles I titled his copy of the play Beatrice and Benedict. Berlioz simply discards all the pesky business — gone Don John, gone denunciations at the altar, gone Dogberry and the antics of the police; welcome a slight and forgettable bit of new business with a newly-devised character, the music-master Somarone (“Big Ass”). The trouble here is that without even a hint of shadow — all Claudio and Hero do is to egg their friends on, while the nuptials approach — there is very little narrative drive. It does not come as much of a surprise to learn that Berlioz planned the work as a one-act opera, and extended it; the music of the two-act version is consistently rewarding, but dramatically almost as inert as his Faust. Berlioz’s thinking here is orchestral, and almost symphonic — Béatrice et Bénédict is, arguably, a symphony or tone poem on themes from Shakespeare, with voices. As such, it is among Berlioz’s most appealing works: the duet-nocturne that closes the first Act, perfectly performed by Opera Boston, is arguably one of the most beautiful episodes in all of opera.
Julie Boulianne as Béatrice and Sean Panikkar as Bénédict [Photo courtesy of Opera Boston]
For all his superior mastery of more complex forms and ideas, Beethoven, Berlioz’s great musical model, could only wish he had written ten more beautiful minutes. Opera Boston, a laudable champion of the neglected and under-heard in opera, has essayed a fluent, elegant staging of Berlioz’s last stage work. The setting is still Sicily — or, that sort of neverland Shakespeare always evokes in his comedies — but resituated in a high-toned 1950s, complete with puffed skirts, bobs, and up-dos — you almost expect a poodle-skirt to sashay in. Designer Robert Perdziola’s set design is equally stylish — the capolavoro is perhaps the lifting of set’s back wall, mottle-painted to suggest aging stucco, to reveal a heart-stopping night sky and distant harbor. As Beatrice, Julie Boulianne has a fine mezzo-soprano voice, a little hard-toned in the upper reaches; Sean Panikkar as Benedict lacked a little polish and finish in tone. Heather Buck’s Hero was excellent at the top and bottom of her register, but a little elusive at times in the middle. Kelley O’Connor as Ursule almost stole the evening, with an arresting, dark-colored low-mezzo voice. Gil Rose’s orchestra offered a seamless and idiomatic reading of Berlioz’s tuneful score. Director David Kneuss, a long-time advocate of the work, decided on an odd hybridization of languages and styles — the sung score was heard in Berlioz’s French, the dialogue in English, in an adaptation that mixed Shakespeare, Berlioz’s own additions for the French-language premere in 1863, and what was apparently some of Kneuss’ own work. Although the result was not as jarring as might have been feared, why not go all the way in any one of these directions? Shakespeare, with minimal alterations? modern English for everything? French for all? Kneuss also did not entirely solve Berlioz’s dramaturgical problems, perhaps a thankless task on the best of days. Principals and chorus were frequently perfectly stationary in moments that, musically and dramatically, suggest movement (the opening of Act I; the drinking song in Act II) — but then, to be fair, Berlioz always had peculiar ideas about what constituted a party.
Finale [Photo courtesy of Opera Boston]
Beatrice and Benedict was not quite his last work — the Memoirs were to follow — but is arguably his last musical work of any importance. Like Verdi long after him, he said farewell to the stage, and to some degree to music, with comedy — and comedy from Shakespeare, at that. He lacked Verdi’s Boito — he had no librettist of genius to help shape the drama, and provide a loving but stern pair of eyes to look over the work. Why this work — and why this curious selection from Much Ado? Shakespeare had long been both his inspiration and his undoing; it was through Shakespeare that he found himself as a composer of genius, and it was through Shakespeare that he met Harriet Smithson, the English actress he loved and married. Their relationship declined into mutual loathing and recrimination — but in this bagatelle on Shakespearean themes, we see a merrily quarrelling couple, Beatrice and Benedict, whose loving combat never degrades into hatred. They are Hector and Harriet, without the depredations of age or misfortune. When it premiered, Verdi’s Forza del Destino opened in Imperial Russia; Offenbach’s Belle Helene was in preparation, and Meyerbeer’s Africaine was being completed; most of all, Wagner’s Walkure had just appeared at Bayreuth. Aesthetics very different from Berlioz’s, although perhaps similar in ambition, had arisen; yet this last and most polished and mature work from the pen of Berlioz deserved and deserves to be heard. Opera Boston’s commendable production, with its polished style and fine young singers, goes a long way toward keeping Berlioz’s music fresh and living for contemporary audiences.