24 Oct 2011
Der fliegende Holländer, Royal Opera
Wagner’s Flying Dutchman returns to the Royal Opera House, London.
With Schoenberg, I tend to take every opportunity I can — at least since my first visit to the Salzburg Festival, when understandably I chose to see Figaro over Boulez conducting Moses und Aron, though I have rued the loss ever since.
As the Britten centenary events draw to a close, the Birmingham Royal Ballet are offering one final highlight: a new version of Britten’s only ballet, The Prince of the Pagodas, with choreography by David Bintley.
Nashville Opera Artistic Director John Hoomes set the opera as Violetta’s dying dream, so colors and other aspects of the backgrounds were symbolic and bright.
Will wonders never cease? Wheat stalks 6 meters high? Rats 2 meters tall. Setting Donizetti’s little comedy amidst biological mutations engendered by Chernobyl does seem a bit farfetched.
Handel’s great opus, Rodelinda, at English National Opera on Friday night was the latest in the Coliseum’s recent run of new and co-produced productions, and also renowned director Peter Jones’ latest foray into the world of opera.
On Sunday afternoon, February 23, 2014, San Diego Opera presented The Elixir of Love in a traditional production by Stephen Lawless.
Billy Budd, portrayed by handsome lyric tenor Liam Bonner, is a charismatic embodiment of innocence.
This was in almost every respect an excellent performance — which therefore exacerbates the problem lying at the heart, or whatever it is that lies in its place, of the work itself.
Bilbao is always news, Calixto Bieito is always news, Carmen with a good cast is always news. So here is the news.
French mistresses are much in the news these days, and now the Théâtre du Capitole’s new production of Donizetti’s La Favorite has added considerable fuel to the fire.
In a 1960 BBC interview, Britten explained to Lord Harewood: ‘I was very much influenced by [W.H.] Auden
Michael Tippett’s opera King Priam premiered as part of the same arts festival in Coventry for which Britten’s War Requiem was written and in fact the two works have something in common, dealing with the issues of war and its consequences.
In Lyric Opera of Chicago’s recent performances of Johann Strauss’s Die Fledermaus several debuts are notable to both American and Chicago audiences.
One wonders if it wasn’t rather risky of ENO to stage a new version of Rigoletto when Jonathan Miller’s ‘mafioso’ production, which served the company so well for a quarter of a century, is still fresh in opera-goers’ minds and hearts?
Its soothing wooden walls gently bathed in aquamarine light, the very modern Hall at King’s Place made a surprisingly fitting venue for a musical journey to the intimate Elizabethan chamber.
A handsome new production, beautifully staged in Marseille’s fine old opera house cried out for a cast to make the opera bel canto.
Harry Bicket and the English Concert brought Handel's wonderful late oratorio Theodora to the Barbican on Saturday 8 February 2014 after a Tour in America and now taking in Birmingham, London and Paris.
It is not often that a Aaron Copland's The Tender Land comes along with resources like those of the Opéra de Lyon, one of Europe's finest. So carpe diem!
Kasper Holten’s new production of Don Giovanni at the Royal Opera House risks laying the house’s Director of Opera open to charges of antiquated mores and misogyny: for he seems to suggest that the women are just as bad, if not worse, than their seducer — and that a soulful man who seeks genuine love is likely to find his ‘ideal beloved’ forever out of reach.
On January 28, San Diego Opera presented Pagliacci as the opening production of the 2014 season. Often staged along with another opera, such as Mascagni’s Cavalleria rusticana, this Pagliacci faced the opera world alone.
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.