Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Anthony Negus conducts Das Rheingold at Longborough

There are those in England who decorate their front lawns with ever-smiling garden gnomes, but in rural Gloucestershire the Graham family has gone one better; their converted barn is inhabited, not by diminutive porcelain figures, but fantasy creatures of Norse mythology - dwarves, giants and gods.

Carmen in San Francisco

A razzle-dazzle, bloodless Carmen at the War Memorial, further revival of Francesca Zambello’s 2006 Covent Garden production already franchised to Oslo, Sidney and Washington, D.C.

Weimar Berlin - Bittersweet Metropolis: Esa-Pekka Salonen conducts the Philharmonia Orchestra

Strictly speaking, The Weimar Republic began on 11th August 1919 when the Weimar Constitution was announced and ended with the Enabling Act of 23rd March 1933 when all power to enact laws without the involvement of the Reichstag was disbanded.

A superb Un ballo in maschera at Investec Opera Holland Park

Investec Opera Holland Park’s brilliantly cast new production of Un ballo in maschera reunites several of the creative team from last year’s terrific La traviata, with director Rodula Gaitanou, conductor Matthew Kofi Waldren and lighting designer Simon Corder being joined by the designer, takis.

A Classy Figaro at The Grange Festival

Where better than The Grange’s magnificent grounds to present Mozart’s Le nozze di Figaro. Hampshire’s neo-classical mansion, with its aristocratic connections and home to The Grange Festival, is the perfect setting to explore 18th century class structures as outlined in Lorenzo da Ponte’s libretto.

A satisfying Don Carlo opens Grange Park Opera 2019

Grange Park Opera opened its 2019 season with a revival of Jo Davies fine production of Verdi's Don Carlo, one of the last (and finest) productions in the company's old home in Hampshire.

Ernst von Siemens Music Prize, 2019

The first woman composer to receive the Ernst von Siemens Music Prize could not have been a worthier candidate.

Josquin des Prez and His Legacy: Cinquecento at Wigmore Hall

The renown and repute of Josquin des Prez (c.1450-1521) both during his lifetime and in the years following his death was so extensive and profound that many works by his contemporaries, working in Northern France and the Low Countries, were mis-attributed to him. One such was the six-part Requiem by Jean Richafort (c.1480-c.1550) which formed the heart of this poised concert by the vocal ensemble Cinquecento at Wigmore Hall, in which they gave pride of place to Josquin’s peers and successors and, in the final item, an esteemed forbear.

Symphonie fantastique and Lélio United – F X Roth and Les Siècles, Paris

Symphonie fantastique and Lélio together, as they should be, with François-Xavier Roth and Les Siècles livestreamed from the Philharmonie de Paris (link below). Though Symphonie fantastique is heard everywhere, all the time, it makes a difference when paired with Lélio because this restores Berlioz’s original context.

Ivo van Hove's The Diary of One Who Disappeared at the Linbury Theatre

In 1917 Leoš Janáček travelled to Luhačovice, a spa town in the Zlín Region of Moravia, and it was here that he met for the first time Kamila Stösslová, the young married woman, almost 40 years his junior, who was to be his muse for the remaining years of his life.

Manon Lescaut opens Investec Opera Holland Park's 2019 season

At this end of this performance of Puccini’s Manon Lescaut at Investec Opera Holland Park, the first question I wanted to ask director Karolina Sofulak was, why the 1960s?

Karlheinz Stockhausen: Cosmic traveling through his Klavierstücke, Kontakte and Stimmung

Stockhausen. Cosmic Prophet. Two sequential concerts. Music written for piano, percussion, sound diffusion and the voice. We are in the mysterious labyrinth of one of the defining composers of the last century. That at least ninety-minutes of one of these concerts proved to be an event of such magnitude is as much down to the astonishing music Stockhausen composed as it is to the peerless brilliance of the pianist who took us on the journey through the Klavierstücke. Put another way, in more than thirty years of hearing some of the greatest artists for this instrument - Pollini, Sokolov, Zimerman, Richter - this was a feat that has almost no parallels.

Don Giovanni at Garsington Opera

A violent splash of black paint triggers the D minor chord which initiates the Overture. The subsequent A major dominant is a startling slash of red. There follows much artistic swishing and swirling by Don Giovanni-cum-Jackson Pollock. The down-at-heel artist’s assistant, Leporello, assists his Master, gleefully spraying carmine oil paint from a paint-gun. A ‘lady in red’ joins in, graffiti-ing ‘WOMAN’ across the canvas. The Master and the Woman slip through a crimson-black aperture; the frame wobbles.

A brilliant The Bartered Bride to open Garsington's 2019 30th anniversary season

Is it love or money that brings one happiness? The village mayor and marriage broker, Kecal, has passionate faith in the banknotes, while the young beloveds, Mařenka and Jeník, put their own money on true love.

A reverent Gluck double bill by Classical Opera

In staging this Gluck double bill for Classical Opera, at the Queen Elizabeth Hall, director John Wilkie took a reverent approach to classical allegory.

Time Stands Still: L'Arpeggiata at Wigmore Hall

Christina Pluhar would presumably irritate the Brexit Party: she delights in crossing borders and boundaries. Mediterraneo, the programme that she recorded and performed with L’Arpeggiata in 2013, journeyed through the ‘olive frontier’ - Portugal, Greece, Turkey, Spain, southern Italy - mixing the sultry folk melodies of Greece, Spain and Italy with the formal repetitions of Baroque instrumental structures, and added a dash of the shady timbres and rhythmic litheness of jazz.

Puccini’s Tosca at The Royal Opera House

Sitting through Tosca - and how we see and hear it these days - does sometimes make one feel one hasn’t been to the opera but to a boxing match. Joseph Kerman’s lurid, inspired or plain wrong-headed description of this opera as ‘a shabby little shocker’ was at least half right in this tenth revival of Jonathan Kent’s production.

A life-affirming Vixen at the Royal Academy of Music

‘It will be a dream, a fairy tale that will warm your heart’: so promised a preview article in Moravské noviny designed to whet the appetite of the Brno public before the first performance of Leoš Janáček’s The Cunning Little Vixen at the town’s Na hradbách Theatre on 6th November 1924.

Peter Sellars' kinaesthetic vision of Lasso's Lagrime di San Pietro

On 24th May 1594 just a few weeks before his death on 14 June, the elderly Orlando di Lasso signed the dedication of his Lagrime di San Pietro - an expansive cycle of seven-voice penitential madrigale spirituali, setting vernacular poetry on the theme of Peter’s threefold denial of Christ - to Pope Clement VIII.

Karlheinz Stockhausen: Donnerstag aus Licht

Stockhausen was one of the most visionary of composers, and no more so than in his Licht operas, but what you see can often get in the way of what you hear. I’ve often found fully staged productions of his operas a distraction to the major revelation in them - notably the sonorities he explores, of the blossoming, almost magical acoustical chrysalis, between voices and instruments.

OPERA TODAY ARCHIVES »

Performances

Eve Gigliotti as Ruth [Photo by Richard Termine]
14 Nov 2011

Dark Sisters, New York

They’re no longer just door-to-door missionaries with a science fiction theology and strange underwear! What with a presidential candidacy and a hit Broadway musical, the Mormons are having their breakout season in New York.

Nico Muhly: Dark Sisters

Eliza: Caitlin Lynch; Ruth: Eve Gigliotti; Almera: Jennifer Check; Presendia: Margaret Lattimore; Zina: Jennifer Zetlan; Lucinda: Kristina Bachrach; Prophet/News Anchor: Kevin Burdette. Gotham Chamber Opera (in association with Music-Theatre Group and the Philadelphia Lyric Opera), conducted by Neal Goren. At the Gerald W. Lynch Theater. Performance of November 11.

Above: Eve Gigliotti as Ruth

Photos by Richard Termine

 

An operatic treatment was sure to appear in due course, but due course in opera-land usually takes at least a generation. Not this time! Young Nico Muhly’s Dark Sisters, about five wives of a polygamous “prophet” who has been accused of abusing his twenty-odd children, had its premiere this month in a visually and aurally sumptuous production by Gotham Chamber Opera and Music-Theatre Group that will travel in June to its co-producer, the Opera Company of Philadelphia.

RT_MG_0074B copy.pngCaitlyn Lynch as Eliza and Kristina Bachrach as Lucinda

Having no previous acquaintance with Muhly’s music, I was tremendously impressed by his skill at writing for both chamber orchestra (13 musicians) and voice. First of all, he can write for the voice, in a sensuous, gratifying way that suits the voices doing the singing. It might be called an instrumental manner: Voices, solo or in combinations in various ranges echo or mimic the way he pairs unusual combinations of instruments to shade or emphasize a line of text or an unexpressed emotion, a violin with an English horn or a flute with celesta. There are striking effects that support a scene or a moment more subtly than the high melodramatic manner opera is used to. To a scenario with very little stage action, Muhly brings vivid musical activity, interesting even when its working out is not what the listener might have expected.

For one striking example, Act I closes with the Prophet choosing to spend the night not with one of the four biddable wives who yearn for nothing else, but with Eliza (Caitlin Lynch), the wife for whom the assault of the outside world and the taking of her daughter, Lucinda, has crystallized years of disaffection. Though she is submissive in word and gesture, Eliza’s disgust at the Prophet’s marital rape—her memories of her wedding night at sixteen, her escape into fantasies (which, it is implied, have been getting her by for years)—are indicated by a subtle agitation, ripples of percussion and harp, that express her state of mind with perfect economy, and the repulsive occasion is staged with spare good taste. Compare the perfervid scenes of sexual violation in Floyd’s Susannah, Loesser’s Most Happy Fella, Ginastera’s Beatrix Cenci, Britten’s Lucretia. Britten is one of Muhly’s obvious models; so is Samuel Barber—I departed humming Vanessa’s “In stillness, in silence, I have waited for you.” But Muhly’s music could not be mistaken for either Britten or Barber; it is too lush for the former, less melodically giving than the latter.

Impressed as I was by the aural textures and the skillful mood painting of Dark Sisters, I felt distanced, confused, by Muhly’s tonal but astringent melodic language, so ambitiously displayed. There seemed, at least at first hearing, too eager a sidestep from the easily caught phrase. When not harmonizing, too many of the vocal lines sounded like recitative sung with feeling. The varieties of sound and the sheer gorgeousness of the women’s voices led us eagerly from place to place, but this aversion to anything simple or basic made the traditional hymn tune “Abide with Me,” when it turned up in the final scene, unduly attractive, a relief for the ear kept on edge. Perhaps that was the intention, the composer’s riff on our preference for neater drama and more melodiously appealing characters—his modern twist on the adage that the Devil gets the best tunes. For by this time the plot of this very internal opera had taken some curious turns, one (Eliza’s flight), foreshadowed and satisfying, others not so easy to parse. The ending is ambiguous rather than self-righteous or pat; we are satisfied and unsettled at the same time.

RT_MG_0014A copy small.pngLeft to right: Jennifer Zetlan as Zina, Margaret Lattimore as Presendia, Caitlin Lynch as Eliza, Jennifer Check as Almera and Eve Gigliotti as Ruth

As the opera begins, the women mourn for their children, seized by state authorities, and from their interwoven mourning individual natures gradually announce themselves. Their husband, the Prophet, flees to the desert—seeking communion with God’s messengers, he says—and their discontent is left to seethe and bicker and recall the past without him. Ruth has lost her children because the Prophet would not permit doctors to come from outside. Zina is proud of her new sewing machine, the Prophet’s gift; Presendia resents that gift and takes her own refuge in art. They pine for their husband and resent him; they accept the restrictions of their life, the only life they know, but rebellion simmers. And Eliza, who does not enjoy her husband’s attentions as the others do, is horrified when she discovers he has promised her fifteen-year-old daughter to an elderly friend. In Act II, on an amusing, not too forced parody of a TV news show, a self-important newscaster who clearly regards the wives as freaks, puts them on screen to discuss their polygamous plight. The women refuse to condemn their own distinctive lives. Presendia points out: “It’s not a compound; it’s a ranch … our home! … This is America! … In some states they let men marry other men!” But Eliza, as we knew she would, seizes the opportunity to escape.

Stephen Karam’s libretto is spare on action. Instead, he presents the internal drama of the female protagonists, glancing on all the expected themes with a blessedly light touch that Muhly has matched: There is just enough conflict between the wives, not too much; there is just enough sermonizing, not too much. Nor does Karam oversimplify the issue of what such women are to do with themselves if they do break free: Where would they go? How are they to live? It’s no simple matter, and Karam does not brush it off or assume that we will take a certain side (though of course, most of us sophisticated, secular opera-goers will).

This is one of the epic stories of our time, and not just for child brides on a Southwestern ranch. At adolescence, in many societies, girls are given to older husbands to forge alliances while boys are often “excommunicated,” banished friendless and unprepared to the world they have been raised to distrust. Similar tales come from other traditional societies in revolutionary times: the Hasidic Jews, the Reservation Indians, or the youth of cultures where women are veiled or circumcised and daughters ill-educated, not daring not protest traditional decisions. Raised to believe the outside world is hostile and sexually exploitive (and isn’t it?), they must choose between a known space with dependable family love and finding the courage to give it all up for the terrifying unknown. For most individuals so trapped, this is neither a simple nor an obvious choice. To Karam and Muhly’s great credit, in boiling such matters down to a 100-minute operatic presentation, they never suggest that the solutions are simple, obvious or predetermined; they do not slight the attractions to remain or those of departure. Dark Sisters is not a snide fable; it is a sincere effort to get under the human skin of the problem.

RT_MG_0022A copy small.pngKevin Burdette as Prophet/News Anchor

The production design (director Rebecca Taichman, sets and video by 59 Productions, lighting by Donald Holder) might be a textbook for the latest in multi-media opera (projections, double screens, films within films, lighting in back, in front, all around), but who ever designed a textbook this beautiful? The gray lives of the women on their ranch are expressed by their white, nightgown-ish dresses set between red-brown desert sands and blazing skies, and their visions of star-filled nights and cloudy, alluring paradises glow.

It would be difficult to single out one of the five singers playing the Prophet’s wives: Each presented a rounded, individual woman (in defiance of their near-identical costumes), and their voices were all of them warm, tactile, filling the theater in glorious interweavings with no hint of strain. When their voices reached out, as each one did in her turn, we seemed to hear their separate souls, dutiful or desperate, jealous or exalted or depressed. We came to know them, from resentful, dreamy Eliza (Caitlin Lynch), miserable, ecstatic Ruth (Eve Gigliotti), queenly Presendia (Margaret Lattimore), pert Zina (Jennifer Zetlan), determined Almera (Jennifer Check) and Lucinda (Kristina Bachrach)—whose real self (seen in Act II) may not be quite the same as the child of her mother’s fantasies in Act I. Kevin Burdette, in the two thankless roles of the Prophet and the equally unsympathetic newscaster, alone did not get a lyrical flight. He bore his deprivation with stoicism. Neal Goren conducted the orchestra and the complex interactions of instruments with voices masterfully.

One must mention that the small, handsome Lynch Theater in John Jay Law School on Tenth Avenue was filled with an enthusiastic and, by operatic standards, extremely youthful audience. They can’t all have been classmates of the composer (who is thirty), but they were clearly delighted with the opportunity to hear the music of a contemporary.

John Yohalem

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):