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

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’.

Lust for Revenge: Barenboim and Herlitzius fire up Strauss’s Elektra in Berlin

As the German language describes so beautifully, a “Schrei aus tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra from the depths of her soul.

Semyon Bychkov heading to NYC and DC with Glanert and Mahler

Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.

OPERA TODAY ARCHIVES »

Performances

Copyright Vlaamse Opera / Frederik Beyens
02 Dec 2011

Antwerp’s Puzzling Tchaikovsky Rarity

From the moment the curtain rose to reveal a loony bin instead of the 15th Century Inn of the libretto, it seemed likely the Flemish Opera was going to raise more questions than it answered about Tchaikovsky’s rarely performed The Enchantress.

Pyotr Ilyich Tchaikovsky: Tsjarodejka (The Enchantress)

Nastasia (Kuma): Ausrine Stundyte; Nikita: Valery Alexeev; Jevpraxija: Irina Makarova; Prince Yuri: Dimitri Polkopin; Mamirov: Taras Shtonda; Paisi: Nikolai Gassiev; Ivan Sjoeran: Igot Bakan; Foka: Jevgeni Polikanin; Polja: Anneke Luyten; Balakin: Vesselin Ivanov; Potap: Thomas Dear; Loekasj: Stephen Adrieans; Kittsjiga: Thomas Muerk; Nenila: Bea Desmet; Conductor: Dmitri Jurowski; Director: Tatjana Gűrbaca; Set and Lighting Design: Klaus Grűnberg; Costume Design: Marc Weeger and Silke Willrett; Chorus Master: Yannis Pouspourikas.

Above: Copyright Vlaamse Opera / Frederik Beyens

 

I certainly applaud the enterprising company for the adventurous season on offer during which locals can also take in Il Viaggio a Reims, Il Duca d’Alba and Mahagonny along with the slightly more mainstream Forza and a lone bread-and-butter run of Carmen. The overall high quality of productions here and the excellent caliber of the singers has won the loyalty and trust of a public who will clearly embrace new experiences beyond the standard repertoire. That said, The Enchantress was, for me, an opportunity missed.

Back to the afore-mentioned nut house: the first act was populated by an ensemble dressed in a ragtag, indecipherable array of (mostly) contemporary costumes (by Marc Weeger and Silke Willrett) that included mismatched track suits, letter jackets, medical wear, shorts, mix-and-match gowns, drag, military, terrorists, a large polar bear ‘mascot,’ and yes, even a female chorister in a giant white knit penis costume with removable ‘cap.’ There were real genitals on display as well, with two naked muscled ballerinos jiggle-flopping their way through the proceedings, one sporting a design of body-paint and wearing a surgical mask, the other disguised by a full rubber head of a green alien seemingly out of the bar scene in the original Star Wars. (Perhaps this was to protect the innocent.) The box set (designer Klaus Grűnberg) was a white tiled asylum (with some more penis images graffiti’d on the walls), packed with ‘choral risers’ built of overturned white plastic bottle crates. At rise, an acrobat is discovered balancing horizontally on his stomach atop an aluminum A-frame ladder center stage, while the inmates revel manically in the crowded playing space.

Did no one see the problem of presenting a virtually unknown work in such a radical ‘interpretation’? An audience hungry to know the piece has read a program synopsis and surtitles that are completely at odds with what is being presented visually. And while we are wondering how it all reconciles, what it might ‘mean,’ and what the hell the dancing polar bear is doing up there, we are mightily distracted from the full impact of some worthy music, well performed. The title refers to the central character of Nastasia (nicknamed ‘Kuma’), dubbed by some historians as "the Russian Carmen," so potent is her sensual appeal. It is not the lovely soprano Ausrine Stundyte’s fault that director Tatjana Gűrbaca has imagined her as more ‘floozy’ than ‘fatale.’ Decked out in a Sally Bowles spaghetti strap cocktail dress and black suit jacket, black hose, and a head piece that looks like a Beefeater black furry hat with a serious feathered cowlick, Kuma comes off visually about as ‘irresistible’ as a roadside hooker at 6:00 am. It doesn’t help that Ausrine is made to sashay and shimmy and stroke and pout with every Vamp cliché in the catalogue. What Ms. Stundyte does accomplish is singing very beautifully indeed, with a sizable lyrico-spinto instrument that encompasses a robust mid-register and a potent top with just a hint of steel. Previous encounters with her have revealed her to be capable of much more personalized, inventive acting than was asked of her here.

The crowd management seemed mostly designed to get masses out of the way as best as possible, in order for the principals to get on stage through the double doors, far upstage center. A couple of soloists (Prince Nikita, Deacon Mamirov) were brought downstage, but others were not, including young Prince Yuri whose lingering in the door made a weak first impression, distanced as he was from the audience. Although the upper class were in business suits, it was hard to guess what their relationships were owing to the lack of specificity in the stage groupings.

Mercifully, the obstructive ladder was finally struck and the space was freed for more varied pictures. There was a wonderful sense of repose in Act One’s great ‘a capella’ ensemble, but the lighting (Mr. Grűnberg again), having been adequate this far, was suddenly cued to throw the whole stage into very dim shadows. Very. Dim. Faces-Lost-Dim. Like this effect, the entire Act was littered with un-illuminated generalities and a conspicuous lack of focus. By the time One ended with Mamirov being pummeled with the knit penis head wielded by the Star Wars nude (laughing silently-if-demonically), I was worried — very worried — where else this could go. And then…

Act Two, set in a non-specific, elegant grey-curtained office-cum-dining-room showed some startling dramatic bite and unexpected character development. Turns out we are in Soviet Russia, and the privileged class are powerful apparatchiks. Princess Jevpraxija is rubber-stamping documents at her desk as she laments abandonment by her husband Nikita. Irina Makarova, looking regal in a tailored State uniform, turned in a performance of searing intensity and vibrant, polished vocalism. My immediate thought as the mezzo poured out impressively controlled chest tones as well as unstinting, ringing phrases above the staff was "wow, what a Verdi singer she would be." And sure enough, the thrilling Ms. Makarova has the full arsenal of those Italian roles in her repertoire. Hers was a deeply felt, varied interpretation, ranging from buttoned-down acceptance of her situation; to ranting, clothes-shedding defiance; to heartfelt, melting phrases of mourning and loss. Hers was arguably ‘the’ performance of the night, although to be fair, Ms. Stundyte become much more engaged (and better used) later in the evening, and her Act IV aria was beautifully judged and exceptionally moving.

The son, Prince Yuri was well-taken by Dimitri Polkopin, although his straight-forward tenor bullies its way through more than a few high phrases, concerned a bit more with volume than with suavity. Still, he displayed good theatrical instincts and even contributed some wit to the plot machinations as he played Mama’s Boy to Ms. Makarova’s Diva Mother. The cat-and-mouse, give-and-take staging of Act Two showed good use of the stage, and displayed a real search for dramatic motivation. Valery Alexeev was heard to best advantage paired up with these two co-stars, and his rather blustery delivery that began the show transformed into a focused, forward-placed, no-nonsense performance of real import. Taras Shtonda made the most potent vocal impression of the men, his naturally booming, orotund bass impressing all evening long. Mr. Shtonda was hampered a bit by the Mr. Magoo-like demeanor and presence that were imposed on him, but he got around that with his solid, meaningful, arching phrasing. As the intruder Paisi (a vagabond disguised as monk), Nikolai Gassiev offered a spirited, consistent portrayal, but on this evening his reliable comprimario tenor sounded just a bit raspy.

Director and design team showed a real clarity now. Some meaningful stage business was mined to good effect as the desk is re-dressed as a formal dining table, and set with dinnerware and accoutrements for the "royal" family to sup together. Physical and emotional relationships were revealed through well-considered movement, and there was a conscientious search for dramatic truth. Just as I was basking in all this honesty, taking in the affecting score, and marveling that we were now at another show freed of the prior absurdities, damn if the upstage curtain didn’t part, and a wagon full of milk-crate-mountains, scruffy protesters, and that damn bear, come rolling downstage at us! Truthfulness? Poof! Gone! (However, as Kittsjiga in this scene, Thomas Muerkas offered some exceptional singing as he denounced the aristocracy). And so the show careened willy-nilly from honesty to self-indulgent distraction, ultimately leaving us with no cogent over-all impression except wondering what the composer’s Enchantress might really be like.

In the pit, the Flemish band played cleanly, enthusiastically, and responsively, although I have heard Dmitri Jurowksi elicit more passion and commitment on other occasions. The maestro seemed a bit detached, perhaps a bit hamstrung by the excesses of the production. Certainly, Chorus Master Yannis Pouspourikas ably coached his ensemble to pour out long stretches of full-throated phrases, and they scored big in the unaccompanied scene. But owing to the rambunctious motion often asked of them, phrase endings were not always clean, and on one occasion, there were internal rhythmic coordination problems.

In the end, while the first act music came off as most characterful, on my first hearing the writing became more generic, even gratuitous, as the show wore on. While it was a welcome opportunity to experience The Enchantress at long last and at a company of fine repute, whatever good intentions Flemish Opera had, it must remain to another enterprising theatre to more fully make its case.

Jim Sohre

Click here for cast and other production information

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):