24 Oct 2011
Der fliegende Holländer, Royal Opera
Wagner’s Flying Dutchman returns to the Royal Opera House, London.
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.
Wagner’s Flying Dutchman returns to the Royal Opera House, London.
When this production of Wagner’s Der fliegende Holländer premiered at the Royal Opera House in February 2009, (review here), Bryn Terfel was its raison d’être. His absence was sorely felt, even by those who aren’t usually seduced by his charms. In this revival, the draw was Jeffrey Tate’s return to Covent Garden after nearly 20 years.
Minimal stagings can work when they highlight meaning and music. Tim Albery’s production (designed by Michael Levine) is a blank canvas, which styles The Flying Dutchman rather than suggests much about who he is. No portrait of any kind in sight. Instead, a toy boat. The boat itself is wonderfully staged, and it’s a masterstroke to see real water on stage, lit so its reflection shines magically into the auditorium. But it doesn’t convey the wildness of the open ocean, nor the turbulent psychic storm around which this opera predicates.
Perhaps Albery’s interpretation is that the opera predicates on Senta and her frustratons, the Dutchman being a projection of her fantasies. Anja Kempe’s Senta was extremely impressive in 2009. Then, she was a perfect foil to Terfel’s solid, taciturn Dutchman. Kempe’s energy created Senta as driven to extremes to escape what to her might have seemed mind numbing conformity. The Dutchman is her ticket out of town, rather than a cursed soul. It’s a valid interpretation, given Albery’s factory staging of the spinning scene, and marginal references to the haunted ship. The concept is worth exploring, though here it’s rather too simplistic. Senta’s not Tosca. Wildness is tricky to sing into this part, and occasionally Kempe relied more on forcefulness than finesse. Nonetheless, she can do it well, and should settle further into the run.
Egils Silins was a late replacement for Falk Struckmann as The Dutchman. This was his Covent Garden debut, and possibly his highest profile performance to date. Although his voice isn’t particularly distinctive, he’s secure vocally and does seem to have a feel for the part. In a production where the singer has more to work with and is less exposed, he’d make a bigger impact. Part of this stems from Albery’s approach, where the Dutchman is reduced to little more than Senta’s dreams. It takes an unusually powerful and charismatic singer to counterbalance these limitations.
Stephen Milling’s Daland was forcefully secure, even too noble, given that the character has an unpleasant streak of venality, which would work well in Albery’s concept, but wasn’t developed. Still, it’s enough that he sang well. Endrik Wottrich’s Erik had problems with pitch and intonation, but was reasonably well acted. Clare Shearer’s Mary was excellent — no fault of hers that the role here was a cipher.
The role of Steersman is much bigger, and critical to the plot, for the Steersman is guides the ship into the distance. Both Senta and the Steersman dream, but Senta can’t think past the present. John Tessier has to sing suspended up a rope ladder, but hasn’t quite the character to make the part as compelling as it might be. But then many productions don’t make enough of the role, and this production doesn’t, either. It’s odd, given Albery’s interest in images of conformity as the Steersman is part of the crew. As always, the Royal Opera House choruses sing and move perfectly. The vocal battle between the Dutchman’s crew and Daland’s crew isn’t quite as horrific as it might be, but the “Steuermann, laß die Wacht!” refrain was sung with such jaunty zest that it left no doubt that these sailors and their families had no time for spooks and neurosis.
Egils Silins as Der Holländer, Anja Kampe as Senta and Stephen Milling as Daland
And so to Jeffrey Tate’s long awaited return to London. Fortunately Albery did not stage the protracted Overture, so we could concentrate on the orchestra. Tate’s pace was electric, injecting the malevolent atmosphere the staging tried so hard to suppress. The energy dissipated at other points, which was a kindness to the singers, who didn’t have to compete, and to Albery’s staging, which was so much at odds with the demonic, elemental fury in the music. When the Dutchman’s crew descend back into the bowels of their ship, Tate lets the orchestra burst forth again. They’re back on the ocean again, metaphorically defying storms and tribulations.
For more details, please see the Royal Opera House website.