24 Oct 2011
Der fliegende Holländer, Royal Opera
Wagner’s Flying Dutchman returns to the Royal Opera House, London.
This quotation from Cervantes was displayed before the opening of the opera’s final scene:
“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”
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The company ends its 2013-14 season on a high note with a staged performance of Gershwin’s theatrical masterpiece
Lyric Opera of Chicago’s new production of Antonin Dvorak’s Rusalka is visually impressive and fulfills all possible expectations musically with unquestioned excitement.
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Kaiserslautern’s Pfalztheater has produced a tantalizing realization of Gluck’s Iphigénie en Aulide, characterized by intriguing staging, appealing designs, and best of all, superlative musical standards.
Never thought I’d say it but......
Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.
On Wednesday, March 19, 2014, General Director Ian Campbell of San Diego Opera announced that the company would go out of business at the end of this season. The next day the company performed their long-planned Verdi Requiem with a stellar cast including soprano Krassimira Stoyanova, mezzo-soprano Stephanie Blythe, tenor Piotr Beczala, and bass Ferruccio Furlanetto.
Visual elements in Richard Eyre’s striking production offset Massenet’s melodic shortcomings
New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.
On March 15, 2014, Los Angeles Opera presented Elkhanah Pulitzer’s production of the opera, which she set in 1885 when women were beginning to be recognized as persons separate from their fathers, brothers and husbands. At that time many European countries were beginning to allow women to own property, obtain higher education, and choose their husbands.
On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.
From the moment she walked, resplendent in red, onto the Wigmore Hall platform, Anne Schwanewilms radiated a captivating presence — one that kept the audience enthralled throughout this magnificent programme of Romantic song.
Magnificent! Following the first night of this new production of Die Frau ohne Schatten, I quipped that I could forgive an opera house anything for musical performance at this level, whether orchestral, vocal, or, in this case, both.
Donizetti’s opera comique La Fille du regiment returned to the Royal Opera House, Covent Garden, for its third revival.
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.
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.