Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

San Jose’s Bohemian Rhapsody

Opera San Jose has capped a wholly winning season with an emotionally engaging, thrillingly sung, enticingly fresh rendition of Puccini’s immortal masterpiece La bohème.

Fine Traviata Completes SDO Season

On Saturday evening April 22, 2017, San Diego Opera presented Giuseppe Verdi’s La traviata at the Civic Theater. Director Marta Domingo updated the production from the constrictions of the nineteenth century to the freedom of the nineteen twenties. Violetta’s fellow courtesans and their dates wore fascinating outfits and, at one point, danced the Charleston to what looked like a jazz combo playing Verdi’s score.

The Exterminating Angel: compulsive repetitions and re-enactments

Thomas Adès’s third opera, The Exterminating Angel, is a dizzying, sometimes frightening, palimpsest of texts (literary and cinematic) and music, in which ceaseless repetitions of the past - inexact, ever varying, but inescapably compulsive - stultify the present and deny progress into the future. Paradoxically, there is endless movement within a constricting stasis. The essential elements collide in a surreal Sartrean dystopia: beasts of the earth (live sheep and a simulacra of a bear) roam, a disembodied hand floats through the air, water spouts from the floor and a burning cello provides the flames upon which to roast the sacrificial lambs. No wonder that when the elderly Doctor tries to restore order through scientific rationalism he is told, “We don't want reason! We want to get out of here!”

Dutch National Opera revives deliciously dark satire A Dog’s Heart

Is A Dog’s Heart even an opera? It is sung by opera singers to live music. Alexander Raskatov’s score, however, is secondary to the incredible stage visuals. Whatever it is, actor/director Simon McBurney’s first stab at opera is fantastic theatre. Its revival at Dutch National Opera, where it premiered in 2010, is hugely welcome.

María José Moreno lights up the Israeli Opera with Lucia di Lammermoor

I kept hearing from knowledgeable opera fanatics that the Israeli Opera (IO) in Tel Aviv was a surprising sure bet. So I made my way to the Homeland to hear how supposedly great the quality of opera was. And man, I was in for treat.

Cinderella Enchants Phoenix

At Phoenix’s Symphony Hall on Friday evening April 7, Arizona Opera offered its final presentation of the 2016-2017 season, Gioachino Rossini’s Cinderella (La Cenerentola). The stars of the show were Daniela Mack as Cinderella, called Angelina in the opera, and Alek Shrader as Don Ramiro. Actually, Mack and Shrader are married couple who met singing these same roles at San Francisco Opera.

LA Opera’s Young Artist Program Celebrates Tenth Anniversary

On Saturday evening April 1, 2017, Placido Domingo and Los Angeles Opera celebrated their tenth year of training young opera artists in the Domingo-Colburn-Stein Program. From the singing I heard, they definitely have something of which to be proud.

Extravagant Line-up 2017-18 at Festspielhaus in Baden-Baden, Germany

The town’s name itself “Baden-Baden” (named after Count Baden) sounds already enticing. Built against the old railway station, its Festspielhaus programs the biggest stars in opera for Germany’s largest auditorium. A Mecca for music lovers, this festival house doesn’t have its own ensemble, but through its generous sponsoring brings the great productions to the dreamy idylle.

Gerhaher and Bartoli take over Baden-Baden’s Festspielhaus

The Festspielhaus in Baden-Baden pretty much programs only big stars. A prime example was the Fall Festival this season. Grigory Sokolov opened with a piano recital, which I did not attend. I came for Cecilia Bartoli in Bellini’s Norma and Christian Gerhaher with Schubert’s Die Winterreise, and Anne-Sophie Mutter breathtakingly delivering Mendelssohn’s Violin Concerto together with the London Philharmonic Orchestra. Robin Ticciati, the ballerino conductor, is not my favorite, but together they certainly impressed in Mendelssohn.

Mahler Symphony no 8 : Jurowski, LPO, Royal Festival Hall, London

Mahler as dramatist! Mahler Symphony no 8 with Vladimir Jurowski and the London Philharmonic Orchestra at the Royal Festival Hall. Now we know why Mahler didn't write opera. His music is inherently theatrical, and his dramas lie not in narrative but in internal metaphysics. The Royal Festival Hall itself played a role, literally, since the singers moved round the performance space, making the music feel particularly fluid and dynamic. This was no ordinary concert.

Rameau's Les fêtes d'Hébé, ou Les talens lyriques: a charming French-UK collaboration at the RCM

Imagine a fête galante by Jean-Antoine Watteau brought to life, its colour and movement infusing a bucolic scene with charm and theatricality. Jean-Philippe Rameau’s opéra-ballet Les fêtes d'Hébé, ou Les talens lyriques, is one such amorous pastoral allegory, its three entrées populated by shepherds and sylvans, real characters such as Sapho and mythological gods such as Mercury.

St Matthew Passion: Armonico Consort and Ian Bostridge

Whatever one’s own religious or spiritual beliefs, Bach’s St Matthew Passion is one of the most, perhaps the most, affecting depictions of the torturous final episodes of Jesus Christ’s mortal life on earth: simultaneously harrowing and beautiful, juxtaposing tender stillness with tragic urgency.

Pop Art with Abdellah Lasri in Berliner Staatsoper’s marvelous La bohème

Lindy Hume’s sensational La bohème at the Berliner Staatsoper brings out the moxie in Puccini. Abdellah Lasri emerged as a stunning discovery. He floored me with his tenor voice through which he embodied a perfect Rodolfo.

New opera Caliban banal and wearisome

Listening to Moritz Eggert’s Caliban is the equivalent of watching a flea-ridden dog chasing its own tail for one-and-half hours. It scratches, twitches and yelps. Occasionally, it blinks pleadingly, but you can’t bring yourself to care for such a foolish animal and its less-than-tragic plight.

Two rarities from the Early Opera Company at the Wigmore Hall

A large audience packed into the Wigmore Hall to hear the two Baroque rarities featured in this melodious performance by Christian Curnyn’s Early Opera Company. One was by the most distinguished ‘home-grown’ eighteenth-century musician, whose music - excepting some of the lively symphonies - remains seldom performed. The other was the work of a Saxon who - despite a few ups and downs in his relationship with the ‘natives’ - made London his home for forty-five years and invented that so English of genres, the dramatic oratorio.

Enchanting Tales at L A Opera

On March 24, 2017, Los Angeles Opera revived its co-production of Jacques Offenbach’s The Tales of Hoffmann which has also been seen at the Mariinsky Opera in Leningrad and the Washington National Opera in the District of Columbia.

Ermonela Jaho in a stunning Butterfly at Covent Garden

Ermonela Jaho is fast becoming a favourite of Covent Garden audiences, following her acclaimed appearances in the House as Mimì, Manon and Suor Angelica, and on the evidence of this terrific performance as Puccini’s Japanese ingénue, Cio-Cio-San, it’s easy to understand why. Taking the title role in the first of two casts for this fifth revival of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, Jaho was every inch the love-sick 15-year-old: innocent, fresh, vulnerable, her hope unfaltering, her heart unwavering.

Brave but flawed world premiere: Fortress Europe in Amsterdam

Calliope Tsoupaki’s latest opera, Fortress Europe, premiered as spring began taming the winter storms in the Mediterranean.

New Sussex Opera: A Village Romeo and Juliet

To celebrate its 40th anniversary New Sussex Opera has set itself the challenge of bringing together the six scenes - sometimes described as six discrete ‘tone poems’ - which form Delius’s A Village Romeo and Juliet into a coherent musico-dramatic narrative.

La voix humaine: Opera Holland Park at the Royal Albert Hall

Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.

OPERA TODAY ARCHIVES »

Performances

David Daniels as Arsamenes and Susan Graham as Xerxes [Photo by Cory Weaver courtesy of San Francisco Opera]
25 Nov 2011

Xerxes in San Francisco

No cuts, not a single one, nearly four hours of non-stop arias, and its only hit tune happens within the first five minutes.

G. F. Handel: Xerxes

Xerxes: Susan Graham; Romilda: Lisette Oropesa; Arsamenes: David Daniels; Atalanta: Heidi Stober; Amastris: Sonia Prina; Ariodates: Wayne Tigges; Elviro: Michael Sumuel. San Francisco Opera Chorus and Orchestra. Conductor: Patrick Summers; Production: Nicholas Hytner; Revival Director: Michael Walling; Production Designer: David Fielding; Lighting Designer: Paul Pyant. (11/16/2011)

Above: David Daniels as Arsamenes and Susan Graham as Xerxes

Photos by Cory Weaver courtesy of San Francisco Opera

 

It was a fine evening in the War Memorial Opera House, a rare visit by one of opera’s greatest dramatists, G.F. Handel now 326 years-old. San Francisco Opera welcomed his 273 years-old Xerxes with a production that is 26 years-old.

Prina_Xerxes.gifSonia Prina as Amastris

While the mushy acoustic of San Francisco’s venerable opera house is not kind to the linear detail and sculptural shapes of Baroque opera an exemplary cast overcame this handicap with the help of the English National Opera production directed by Nicholas Hytner and designed by David Fielding — purely and simply a classic.

The Handel revival has been going on quite a while now, in fact nearly one hundred years though not so many of his operas find their way onto the big stages to play for broader audiences. That may be the reason that when the populist and always lively ENO took on Xerxes for the Handel 1985 anniversary it choose to play up the comic elements of this opera seria, in fact to make it an outright comedy, trappings it wears quite naturally.

Impeccable comic timing and deadpan humor rarely describe performances by mezzo-soprano Susan Graham (whose roles at SFO include Iphigénie, Ariodante and Sister Helen [Dead Man Walking]). As the Persian king Serse (Xerxes) these attributes are as appropriate as the more usual phrases like impeccable musicianship and superb delivery. Her trouser acting technique does not attempt masculinity leaving us gratefully unconfused in the usual gender confusion.

Tigges_Xerxes.gifWayne Tigges as Ariodates

Almost the same things can be said about countertenor David Daniels who was her/his (Serse’s) rival in love, though in the case of Mr. Daniels the gender confusion became a part of the comedy with his maleness exaggerated by the addition of a beard — all the while singing in a male voice in a female register. Mr. Daniels has a quite beautiful falsetto that is evenly colored throughout his range, and exposes his mastery of Baroque style with every note.

To a man all the other pro- and antagonists were scene stealers. Heidi Stober and Lisette Oropesa were the sisters, Atalanta and Romilda, very lyric singers and beguiling actresses, complemented by the delightfully outraged Sonia Prina as Serse’s forgotten fiance Amastris, now disguised as a soldier. She earned a huge ovation for her dynamite, end of first act explosion “Saprà delle mie offese, ben vendicarsi il cor.”

Well, to a man it was hopeless, tormented love finally resolved by the dumb coyness of lovesick Serse aided by the very real charm of the servant Elviro sung by baritone Michael Samuel and by the pomposity of the general Ariodates adroitly served up by bass Wayne Tigges.

The greatest pleasure of the evening was however the finished staging accomplished by stage director Michael Walling. Its imposed precise movements were confidently executed by the cast. This finish alone allowed the comedy to shine as well as to expose gracefully the considerable personal charms of the seven principals. Not to mention the huge presence of 24 choristers (but only two brief choruses) and 17 tireless supernumeraries as the very slightly defined Persian society (disguised in period European dress) — totally gray, shadowy, barely visible gentle commentators on the shenanigans of Handel’s brightly dressed lovers — that added very welcome action and context to the countless arias.

David Fielding’s set on which Serse and Ariodates plot their invasion of Europe was a Baroque room with a garden superimposed (recognizing that Xerxes is really a pastorale) with a back wall that flew out to reveal some witty Middle Eastern vistas and side panels that opened to admit some monumental Persian sculpture in museum cases. Together with the cheap lawn chairs and newspapers there was plenty of nifty confusion of time and place to complement the amusing gender confusions mixed up in the silly romantic convolutions.

Trio_Xerxes.gifLisette Oropesa as Romilda, Michael Sumuel as Elviro and David Daniels as Arsamenes

Conductor Patrick Summers allowed all this to happen without imposing musical extravagances, choosing instead to indulge in his sympathy for the needs of his singers. There was no real attempt or for that matter possibility or even need to create a Baroque sound in the vast expanse of the War memorial.

This production from twenty-six years ago reflects the tastes and challenges of that time, a particularly innovative period at the ENO. A new production now of this problematic opera might attempt to underscore the depth of emotion in its exposition of these tragic (genuinely unhappy) stories. The feelings are musically quite real. The heady humor of the Hytner production kept us outside and above the much of the potential musical depth and maybe some of the pleasures of this Handel score.

Michael Milenski

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):