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

Fortepiano Schubert : Wigmore Hall

The Wigmore Hall complete Schubert song series continued with a recital by Georg Nigl and Andreas Staier. Staier's a pioneer, promoting the use of fortepiano in Schubert song. In Schubert's time, modern concert pianos didn't exist. Schubert and his contemporaries would have been familiar with a lighter, brighter sound. Over the last 30 years, we've come to better understand Schubert and his world through the insights Staier has given us. His many performances, frequently with Christoph Prégardien at the Wigmore Hall, have always been highlights.

MOZART 250: the year 1767

Classical Opera’s MOZART 250 project has reached the year 1767. Two years ago, the company embarked upon an epic, 27-year exploration of the music written by Mozart and his contemporaries exactly 250 years previously. The series will incorporate 250th anniversary performances of all Mozart’s important compositions and artistic director Ian Page tells us that as 1767 ‘was the year in which Mozart started to write more substantial works - opera, oratorio, concertos … this will be the first year of MOZART 250 in which Mozart’s own music dominates the programme’.

Monteverdi, Masters and Poets - Imitation and Emulation

‘[T]hey moderated or increased their voices, loud or soft, heavy or light according to the demands of the piece they were singing; now slowing, breaking of sometimes with a gentle sigh, now singing long passages legato or detached, now groups, now leaps, now with long trills, now with short, or again, with sweet running passages sung softly, to which one sometimes heard an echo answer unexpectedly. They accompanied the music and the sentiment with appropriate facial expressions, glances and gestures, with no awkward movements of the mouth or hands or body which might not express the feelings of the song. They made the words clear in such a way that one could hear even the last syllable of every word, which was never interrupted or suppressed by passages or other embellishments.’

Visionary Wagner - The Flying Dutchman, Finnish National Opera

An exceptional Wagner Der fliegende Holländer, so challenging that, at first, it seems shocking. But Kasper Holten's new production, currently at the Finnish National Opera, is also exceptionally intelligent.

Don Quichotte at Chicago Lyric

A welcome addition to Lyric Opera of Chicago’s roster was its recent production of Jules Massenet’s Don Quichotte.

Written on Skin: Royal Opera House

800 years ago, every book was a precious treasure - ‘written on skin’. In George Benjamin’s and Martin Crimp’s 2012 opera, Written on Skin, modern-day archivists search for one such artefact: a legendary 12th-century illustrated vanity project, commissioned by an unnamed Protector to record and celebrate his power.

Madama Butterfly at Staatsoper im Schiller Theater

It was like a “Date Night” at Staatsoper unter den Linden with its return of Eike Gramss’ 2012 production of Puccini’s Madama Butterfly. While I entered the Schiller Theater, the many young couples venturing to the opera together, and emerging afterwards all lovey-dovey and moved by Puccini’s melodramatic romance, encouraged me to think more positively about the future of opera.

It’s the end of the world as we know it: Hannigan & Rattle sing of Death

For the Late Night concert after the Saturday series, fifteen Berliners backed up Barbara Hannigan in yet another adventurous collaboration on a modern rarity with Simon Rattle. I was completely unfamiliar with the French composer, but the performance tonight made me fall in love with Gérard Grisey’s sensually disintegrating soundscape Quatre chants pour franchir le seuil, or “Fours Songs to cross the Threshold”.

A Vocally Extravagant Saturday Night with Berliner Philharmoniker

One of the things I love about the Philharmonie in Berlin, is the normalcy of musical excellence week after week. Very few venues can pull off with such illuminating star wattage. Michael Schade, Anne Schwanewilms, and Barbara Hannigan performed in two concerts with two larger-than-life conductors Thielemann and Rattle. We were taken on three thrilling adventures.

Les Troyens at Lyric Opera of Chicago

Lyric Opera of Chicago’s original and superbly cast production of Hector Berlioz’s Les Troyens has provided the musical public with a treasured opportunity to appreciate one of the great operatic achievements of the nineteenth century.

Merry Christmas, Stephen Leacock

The Little Opera Company opened its 21st season by championing its own, as it presented the world premiere of Winnipeg composer Neil Weisensel’s Merry Christmas, Stephen Leacock.

A Christmas Festival: La Nuova Musica at St John's Smith Square

Now in its 31st year, the 2016 Christmas Festival at St John’s Smith Square has offered sixteen concerts performed by diverse ensembles, among them: the choirs of King’s College, London and Merton College, Oxford; Christchurch Cathedral Choir, Oxford; The Gesualdo Six; The Cardinall’s Musick; The Tallis Scholars; the choirs of Trinity College and Clare College, Cambridge; Tenebrae; Polyphony and the Orchestra of the Age of the Enlightment.

Fleming's Farewell to London: Der Rosenkavalier at the ROH

As 2016 draws to a close, we stand on the cusp of a post-Europe, pre-Trump world. Perhaps we will look back on current times with the nostalgic romanticism of Richard Strauss’s 1911 paean to past glories, comforts and certainties: Der Rosenkavalier.

Loft Opera’s Macbeth: Go for the Singing, Not the Experience

Ah, Loft Opera. It’s part of the experience to wander down many dark streets, confused and lost, in a part of Brooklyn you’ve never been. It is that exclusive—you can’t even find the performance!

A clipped Walküre in Amsterdam

Let’s start by getting a couple of gripes out of the way. First, the final act of Die Walküre does not constitute a full-length concert, even with a distinguished cast and orchestra, and with animated drawings fluttering on a giant screen.

A Leonard Bernstein Delight

When you combine two charismatic New York stage divas with the artistry of Los Angeles Opera, you have a mix that explodes into singing, dancing and an evening of superb entertainment.

An English Winter Journey

Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.

History Repeating Itself: Prokofiev’s Semyon Kotko, Amsterdam Concertgebouw

A historical afternoon at the NTR Saturday Matinee occurred with an epic concert version of Prokofiev’s Soviet Opera Semyon Kotko.

L’amour de loin at the Metropolitan Opera

Opening night at the Metropolitan is a gleeful occasion even when the composer is long gone, but December 1st was an opening for a living composer who has been making waves around the world and is, gasp, a woman — the second woman composer ever to have an opera presented at the Met.

La finta giardiniera at the Royal College of Music

For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.

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):