09 Nov 2011
Roméo et Juliette, LA
Love and gloom at the Los Angeles Opera.
In its ongoing celebration of Verdi’s centennial year, the Los Angeles Opera offered a new production of Falstaff, the composer’s last and most brilliant opera — brilliant in every scintillating, sparkling sense of the word.
Poor Weber: opera companies, especially in England, do him anything but proud.
Acis and Galatea was one of Handel’s most popular works, frequently revived in his life time and beyond.
German tenor Werner Güra, who has made a speciality of the German lieder repertoire, opened this recital at the Wigmore Hall with Beethoven’s An Die Ferne Geliebte, the composer’s only song cycle and the first significant example of the form.
It’s been renamed “The Gershwins' Porgy and Bess,” it hails itself as “The American Musical” and further qualifies itself as “The Porgy and Bess for the Twenty-First Century.”
Richard Wagner wrote: "The voyage through the Norwegian reefs made a wonderful impression on my imagination; the legend of the Flying Dutchman, which the sailors verified, took on a distinctive, strange coloring that only my sea adventures could have given it.”
‘If she is adulterous, why is she praised? If chaste, why was she put to death?’
On Remembrance Sunday, Semyon Bychkov conducted Benjamin Britten's War Requiem at the Royal Albert Hall with Roderick Williams, Allan Clayton, Sabrina Cvilak, the BBC Symphony Orchestra, the BBC Symphony Chorus, Crouch End Festival Chorus and choristers of Westminster Abbey.
The mantle of tenor Peter Pears’ legacy hung heavily over his immediate ‘successors’, as they performed music that had been composed by Benjamin Britten for the man to whom he avowed, ‘I write every note with your heavenly voice in my head’.
One year since the launch of their project to create a contemporary book of Italians madrigals, vocal ensemble Exaudi returned to the Wigmore Hall to present an intermingling of old and new madrigals which was typically inventive, virtuosic and compelling.
Mozart’s The Magic Flute at the Coliseum could give the ENO a welcome boost.
Lyric Opera of Chicago’s current new production of Giacomo Puccini’s Madama Butterfly, an effort shared with Houston Grand Opera and the Grand Théâtre de Genève, tends to emphasize emotional involvements against a backdrop of spare sets.
Dmitri Shostakovich’s opera, The Nose, based on Gogol’s short story of the same name, was a smash hit for the Metropolitan Opera company in 2010 and once again, this season.
There might not be much ‘Serenissima’ about Yoshi Oida’s 2007 production of Death in Venice — it’s more Japanese minimalism than Venetian splendour — but there is still plenty to admire, as this excellent revival by Opera North as part of its centennial celebration, Festival of Britten, underlines.
With an absorbing production of Peter Grimes and a freshly spontaneous La bohème, Canadian Opera Company has set the bar very high indeed for its current season.
Whatever you think of some of the Metropolitan Opera’s recent productions, you cannot fault the Gelb administration for fearing to take risks.
The lustreless white tiles of the laboratory which forms the set of Keith Warner’s pitiless staging of Alban Berg’s Wozzeck offer little respite — cold, hard, rigid and severe, they are a material embodiment of the bleakness and barrenness of the tragic events which will be played out within the workshop walls (sets by Stefanos Lazaridis).
At this year’s Wexford Festival — the 62nd operatic gathering in this small south-eastern Irish town - the trio of operas on show present many a wretched battle between duty and desire.
At the heart of this Wigmore Hall recital were two sacred vocal works for solo countertenor and small instrumental forces, recently recorded by Florilegium and Robin Blaze to considerable critical acclaim: J.S. Bach’s cantata ‘Vergnügte Ruh, beliebte Seelenlust’ and Giovanni Battista Pergolesi’s ‘Salve Regina’.
After the bitter disappointment of
Love and gloom at the Los Angeles Opera.
Though love and gloom permeate Gounod’s Roméo and Juliette — the opera opens with a melancholy choral prologue and ends with a tear provoking death duet — it was love that won the day when the curtain came down at the opera’s November 6th opening performance at the Dorothy Chandler Pavilion. But this was not the love of the young protagonists for each other, rather it was that of the audience for the opera, its principle performers, and its conductor Placido Domingo. The moment the curtain fell, applause overwhelmed the last orchestral sounds. And the instant it rose again to reveal the singers and set, bodies shot forth from their seats as one.
The current production is a revival of the 2005 presentation of the work directed by Ian Judge. As it did six years ago, Roméo and Juliette brought together two young singers at the thresholds of their operatic careers, Georgian soprano, Nino Machaidze, and Italian tenor, Vittorio Grigolo. More about them in a moment.
Shakespeare’s play, shaped for Gounod by librettists Jules Barbier and Michel Carré into five acts that focus exclusively on the lovers, gave the composer abundant opportunity write music filled with love and with dread. When it was produced in Paris in 1867, the work immediately won the hearts of French audiences. Its first Metropolitan Opera performances in 1884 were sung in Italian. Its reappearance in the Met repertory at an 1891 performance in Chicago marked the first time the company sang a French opera in French. It was as quickly a success here as well, and why not? Those early performances featured the De Reszke brothers and Emma Eames.
Who knows what the De Reszkes and Mme. Eames, swathed in their their multilayered costumes would have made of this slick production delivered in two acts, featuring slim young lovers romping in bed half nude, and set nowhere in particular? The essentially unit set with movable sections, is a skeletal iron structure which recalls old Parisian arcades, or the base of Eiffel Tower. However, the set changes were fairly rapid and effective. Costumes were dark and restrained. The beautifully constructed gowns for the First Act ball never lit the scene, perhaps to help us keep us in mind of impending doom. My major grievance relates to the direction after Mercutio’s death. Ian Judge has our hero fighting dirty. After hand to hand pushing and shoving and a brief duel with knives, Romeo suddenly has a gun in his hand and unhesitatingly shoots Tybalt point blank. If you heard someone exclaim. “that’s that not fair,” you were sitting near me.
Alexey Sayapin as Tybalt and Museop Kim as Mercutio
Neither Machaidze or Grigolo, who was making his LA debut, is new to French opera. The soprano was Juliet in Salzburg in 2008 and in Verona this past July. She and Grigolo performed their roles together in June at La Scala. Grigolo has also sung Hoffmann and scored an enormous success as Des Grieux in his Covent Garden debut.
Machaidze was a charming Juliet, though her voice, noticeably edgier than in her Salzburg Juliet, was occasionally shrill at the top. Grigolo, known in his youth in Italy as il Pavarottini, has a dark robust almost baritonal voice with a gravelly buzz in mid range that opens to a clarion clarity at the top. Slim and handsome, he is also remarkably agile and scaled the gates and ladders keeping him from his beloved with the litheness of a cat burglar.
Vladimir Chernov as Capulet and Nino Machaidze as Juliette, with Ronnita Nicole Miller (in black) as Juliette's Nurse, and Daniel Armstrong (at right, in rear) as Count Paris
Museup Kim as Mercutio and Renée Rapier, making an unexpected LA opera debut as Stephano, were outstanding in this large cast. Vitalij Kowaljow was a sonorous Friar Laurence. Alexey Sayapin debuted as Tybalt. Baritone Vladimir Chernov sang the thankless role of Count Capulet, and Ronnita Nicole Miller had little to sing about as Juliette’s nurse.
Maestro Domingo’s conducting, while responsive to Gounod’s long melodic lines, whether instrumental or vocal, lacked the rhythmic thrust that keeps a repeated waltz beat buoyant. Perhaps his rehearsal time was limited. But no one cared. With the production staff, performers, conductor and chorus on stage, and the energetic Grigolo pulling them forward for yet another bow, all was love Sunday afternoon at the Los Angeles opera.