13 Dec 2011
Amsterdam’s Adventurous Idomeneo
Straight to the point: Netherlands Opera has mounted as luminous and emotionally engaging an Idomeneo as is imaginable.
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.
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of Leoš Janàček’s 1921 domestic tragedy, and not entirely in a good way.
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
Straight to the point: Netherlands Opera has mounted as luminous and emotionally engaging an Idomeneo as is imaginable.
It is difficult to adequately describe the stunning imagery that designer Karl-Ernst Herrmann has put on display with his vivid sets, costumes, and lights (for all I know, he designed the program and swept the stage as well). All of the technical elements embody a profound depth of spirit, are supremely informative, and visually engaging. His colossal floor plan puts a four-foot wide illuminated white pentagonal walkway around the orchestra and right up to the edge of the parterre, and adjoins to it at curtain-line a massive upstage golden-hued beach “peninsula” which narrows as it recedes, and is on a hydraulic that can tilt it towards us quite steeply when so desired. A lone, Arp-inspired rock far upstage seems to be awaiting a mermaid.
Edgaras Montvidas as Arbace and Susan Gritton as Elettra
The sides and top of the proscenium are defined by a large dove-grey “box” which is initially enclosed by a similar panel that covers the entire proscenium opening. This is used to magical effect as a shadow screen to intensify any number of key downstage moments with appropriate moving images, from very small to very large. Surprisingly, the entire massive panel was hinged at the top so its bottom could swing away from us and upward to disappear into the loft, not only revealing the expanse of sand upstage, but also creating ominous lighting effects as the shadow crosses the playing space like a guillotine blade.
Mr. Herrmann has accessorized the space with mysterious poles, each bearing a ritualistic symbol atop, at once suggesting Crete, the origins of dramatic performance itself, and an uncanny timelessness. Carrying out that primitive theme, artful masks for the chorus are judiciously deployed, sometimes worn, sometimes carried aloft by hand, sometimes held aloft atop poles. His costumes are as character-defining as you are likely to see in many a year of opera-going. Just look at the chorus (singing with gusto under Martin Wright’s tutelage) in one scene arrayed in a courtly set of butter-cup yellow double-breasted suits and gowns, in another barefoot and dressed down in generic and timeless black peasant wear, in yet another appearing like a bygone era’s stereotypical tourists.
Edgaras Montvidas as Arbace, Stéphanie d’Oustrac Idamante, Judith van Wanroij as Ilia and Koor van De Nederlandse Opera
Overall, Herrmann the Costumer favors a baggy, loose fitting silhouette, almost suggesting children playing grown-ups. Idomeneo is in a generous white suit with a stray piece of shoulder armor, swaddled one time in a white felt cape and another in a consuming, weighty fur. And, yes he wears the standard issue, spiky European opera “crown.” Idamanate’s look seems inspired by a white sailor uniform, augmented by an unfettered vest and black tie. Neptune is in a mix and match of green pants, overcoat, and laurel wreath, part seaweed, part Emerald City. And best, Elettra is a diva assoluta, with a sort of violet/burgundy strapless push-up bodice top (decorated with vertical black-lacquered boning) and skirt of overlaid fabric that flares out like a funnel. Matching pumps, jacket and hat complete the fashionable persona. The hair design was no less masterful with quirky sweeps of tresses that rivaled a hood ornament on a Chrysler.
His lighting was no less affecting, with its cunning use of shadow play, and its color palette that ranged from stark white, to moody blue, to dusty orange, to vivid yellow. The diffuse sun projection was at times blood red, at others milky white, and during the raging storm, eclipsed by a brooding black disc. The lightening effect was truly unsettling, perfectly enhancing the panicked scattering of rag-clad choristers. The end of Act I was punctuated by a startling’ coup de theatre’ as the waning musical effects decrescendo’d to their last whimper when — BANG! — three giant prongs of Neptune’s trident came thrusting up violently from the stage floor. The audience was snapped to attention as one. So many exciting design choices, but then, what of the work of Herrmann the Director?
In tandem with his wife Ursel, Ehepaar Herrmann have crafted a fluid, constantly evolving series of stage pictures and plot development that are a joy to behold and too numerous to celebrate here. In addition to telling the story with serious dramatic purpose, they have managed to infuse some genuine wit and theatricality into the evening with the lurking appearances of a sometimes aggressive, sometimes bemused Nettuno. One common thread is having the sea-god continue to offer Idomeneo an ax with which to execute Idamante. However, his first entrance has him poking his head up over the ramp from the orchestra pit. Later, during a light hearted moment, he reappears there, places a platter with a cooked fish on the stage, and proceeds to filet and eat it!
Michael Schade as Idomeneo and Dietmar Kerschbaum as Gran sacerdote di Nettuno
The Herrmann’s have done exemplary work with the movement and uses of the industrious chorus. One memorable effect saw the front panel raise to reveal a massive black monolith center of the ‘beach.’ It was only after Idomeneo grabbed (what turned out to be) a piece of the black cloth and pulled away the covering that we realized the monolith was the shoulder-to-shoulder chorus huddled beneath it. A caveat: while all of the action and confrontations were believable and while all of the arias were well internalized, the limitations of the traffic patterns on the ramp did provide challenges in variety of blocking, which were largely overcome. But none of this fruitful physicalization would count for anything had the musical side not matched it, and here Netherlands Opera really scored big.
In the treacherous title role, Michael Schade sang with his accustomed polish, his pleasing grainy tone sounding suave and responsive, and his florid passages secure and fleet. I have always found him rather reserved, even stiff, with his stage deportment, but on this outing Mr. Schade displayed a passion and ferocity that made this a truly memorable role assumption. Matching him, Susan Gritton revealed herself to be an Elettra ne plus ultra. Her richly glamorous tone, interpretive savvy, flawless technique, and ample gleaming fire power dominated every scene she was in (as she must). On the basis of her recent Sesto in Paris and now her assured Idamante here, Stephanie d’Oustrac seems to be laying claim to becoming the pre-eminent Mozart Mezzo of the Moment. Her pliant, bewitching instrument has in its arsenal tremulous outbursts, plangent laments, and utter security with rip-snorting trip hammer coloratura. And she cuts a believable figure in these pants roles, blessedly free of clichéd ‘manly’ posturing.
Michael Schade as Idomeneo and Stéphanie d’Oustrac as Idamante
Having previously quite enjoyed Judith van Wanroij’s pure, silvery soprano in Monteverdi on this stage, I found my admiration well founded since she delivered a haunting, sympathetic Ilia. A pre-performance announcement in Dutch was made that I didn’t really follow, and when I asked about it at intermission I found that the singer performing Arbace was “indisposed.” I had actually already been mightily impressed by Edgardas Montvides for his vibrant tone and convincing delivery. What must he sound like when he is well!? All of the smaller roles were nicely essayed, particularly the delightfully warm soprano of diminutive Fang Fang Kong as a featured Cretan.
John Nelson led an idiomatic, highly detailed reading in the pit, eliciting vibrant colors and textures that made a potent case for Mozart’s opus. Noteworthy, too, were the wonderful contributions from Peter Lockwood with his aptly inventive playing of the continuo keyboard in tandem with the refined cello work from Herre-Jan Stergenga. When all the theatrical and musical planets align as they did with Netherlands Opera’s Idomeneo, you really are wholly drawn into an artistic experience that is, well, out of this world.