Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Eine florentinische Tragödie and I pagliacci in Monte-Carlo

An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.

Carmen, Pacific Symphony

On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.

The Mastersingers of Nuremberg, ENO

Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.

San Diego Opera presents an excellent Don Giovanni

On Friday February 20, 2015, San Diego Opera presented Mozart’s Don Giovanni in a production by Nicholas Muni originally seen at Cincinnati Opera.

Tosca at Chicago Lyric

In a production first seen in Houston several years ago, and now revised by its director John Caird, Puccini’s Tosca has returned to Lyric Opera of Chicago with two casts, partially different, scheduled into March of the present season.

Henri Dutilleux: Correspondances

Henri Dutilleux’s music has its devotees. I am yet to join their ranks, but had no reason to think this was not an admirable performance of his song-cycle Correspondances.

LA Opera Revives The Ghosts of Versailles

In 1980, the Metropolitan Opera commissioned composer John Corigliano to write an opera celebrating the company’s one-hundredth anniversary. It was to be ready in 1983.

La Traviata, ENO

English National Opera’s revival of Peter Konwitschny’s production of Verdi’s La Traviata had many elements in common with the production’s original outing in 2013 (The production was a co-production with Opera Graz, where it had debuted in 2011).

Idomeneo in Lyon

You might believe you could go to an opera and take in what you see at face value. But if you did that just now in Lyon you would have had no idea what was going on.

Der fliegende Holländer, Royal Opera

I wonder whether we need a new way of thinking — and talking — about operatic ‘revivals’. Perhaps the term is more meaningful when it comes to works that have been dead and buried for years, before being rediscovered by subsequent generations.

Iphigénie en Tauride in Geneva

Hopefully this brilliant new production of Iphigénie en Tauride from the Grand Théâtre de Genève will find its way to the new world now that Gluck’s masterpiece has been introduced to American audiences.

Tristan et Isolde in Toulouse

Tristan first appeared on the stage of the Théâtre du Capitole in 1928, sung in French, the same language that served its 1942 production even with Wehrmacht tanks parked in front of the opera house.

Arizona Opera presents Tchaikovsky’s Eugene Onegin

Arizona Opera presented Eugene Onegin during and 1999-2000 season and again on February 1 of this year as part of the 2014-2015 season. In this country Onegin is not a crowd pleaser like La Bohème or Carmen, but its story is believable and its music melodic and memorable. Just hum the beginning of the “Polonaise” and your friends will know the music, if not where it comes from.

Ernst Krenek: Reisebuch aus den österreichischen Alpen, Florian Boesch, Wigmore Hall

Florian Boesch and Roger Vignoles at the Wigmore Hall in Ernst Krenek’s Reisebuch aus den österreichischen Alpen. Matthias Goerne has called Hanns Eisler’s Hollywooder Liederbuch the Winterreise of the 20th century. Boesch and Vignoles showed how Krenek’s Reisebuch is a journey of discovery into identity at an era of extreme social change. It is a parable, indeed, of modern times.

Anna Bolena at Lyric Opera of Chicago

Lyric Opera of Chicago’s new Anna Bolena, a production shared with Minnesota Opera, features a distinguished cast including several notable premieres.

San Diego Celebrates 50th Year with La Bohème

On Tuesday January 27, 2015, San Diego Opera presented Giacomo Puccini's La Boheme. It is the opera with which the company opened in 1965 and a work that the company has faithfully performed every five years since then.

English Pocket Opera Company: Verdi’s Macbeth

Last year we tracked Orfeo on his desperate search for his lost Euridice, through the labyrinths and studio spaces of Central St Martin’s; this year we were plunged into Macbeth’s tragic pursuit of power in the bare blackness of the CSM’s Platform Theatre.

Béla Bartók: Duke Bluebeard’s Castle

Béla Bartók’s only opera, Duke Bluebeard’s Castle, composed in 1911 and based upon a libretto by the Hungarian writer Béla Balázs, was not initially a success.

Katia Kabanova in Toulon

Káťa Kabanová is, they say, Janáček's first mature opera — it comes a mere 20 years after his masterpiece, Jenůfa.

Peter Grimes in Nice

Nice’s golden winter light is not that of England’s North Sea coast. Nonetheless the Opéra de Nice’s new production of Peter Grimes did much to take us there.

OPERA TODAY ARCHIVES »

Performances

David Daniels as Prospero [Photo by Ken Howard courtesy of The Metropolitan Opera]
25 Jan 2012

The Enchanted Island, Metropolitan Opera

This year is a big year for the Met. Of the seven new productions on the roster, two are the last two installments of a much-anticipated Robert Lepage Ring.

The Enchanted Island (Devised and Written by Jeremy Sams)

Click here for production information.

Above: David Daniels as Prospero

Photos by Ken Howard courtesy of The Metropolitan Opera

 

Another, Anna Bolena, was more than simply a new production to mark opening night. It was also a new addition to the company’s repertoire. Still another, The Enchanted Island, was a world premiere. In this final instance, the composer who was lucky enough to land such a high profile engagement was none other than…George Frideric Handel?

ENCHANTED-ISLAND-de-Niese.gifDanielle de Niese as Ariel

If this seems perplexing, don’t worry, it is. What’s even more confusing is, he is not the only composer to create this new work. The others, Antonio Vivaldi and Jean-Philippe Rameau, are just as old. The question then becomes: how can an opera be new if it utilizes music that is over two hundred years old? The answer is not as difficult as it would appear. The Enchanted Island, the brainchild of famed conductor and Baroque interpreter William Christie, with an English language libretto by Jeremy Sams, is meant to be a modern take on a Baroque genre known as pasticcio, in which multiple arias from one or more composers would be combined with occasional changes in text to create an entirely new plotline.

The idea of a modern pasticcio fits well into the scheme of the modern Baroque revival, which began in the latter half of the 20th century. However, despite the similarities between Baroque and Bel Canto opera, which was revived around World War II, Baroque works pose a greater challenge to modern audiences.

ENCHANTED-ISLAND-Oropesa-04.gifLisette Oropesa as Miranda

This is because all aspects of Baroque opera performance practice are closely tied to the promotion of the absolutist regimes of the 17th century. In our modern era, when audiences are so far removed from these institutions, the challenge becomes making these works speak to people with the same immediacy they did centuries ago.

In this light, this opera, which combines elements of The Tempest and A Midsummer Night’s Dream into a comedy of errors and mistaken affections, was a rousing success. The work manages to flawlessly combine the diverse aspects of Baroque opera, such as the da capo aria, the use of ballet, innovative stage craft, as well as the distinction between recitative, arioso and aria seamlessly. Its principal roles, sung by such lauded Baroque interpreters as countertenor David Daniels (Prospero), soprano Danielle De Niese (Ariel), and mezzo soprano Joyce DiDonato (Sycorax), made an excellent case for the emotive power of Baroque music, especially its ornamentation, while at the same time updating the somewhat stilted figures of tragic nobility which populate Opera Seria.

In contrast to a work like Handel’s Giulio Cesare, in which the just nobles, Cesare and Cleopatra, are pitted against the wicked nobles, here symbolized by Ptolemeo, the nobility of The Enchanted Island was neither totally sympathetic nor totally antipathetic. Instead, each aria focused on the humanity of the emotions each character was feeling. In this light, Joyce DiDonato stole the show. Her opening aria, “Maybe Soon, Maybe Now,” showcased her ability to draw the emotive colors of Baroque ornamentation, which included growls.

ENCHANTED-ISLAND-DiDonato.gifJoyce DiDonato as Sycorax, Placido Domingo as Neptune, and David Daniels as Prospero

There were times when Danielle de Niese used her coloratura to explosive effect. In much the same way, David Daniels showed how improvised vocal technique could be used for emotional display. His legato showed vulnerability while his ornaments illustrated a fierce display of anger. Other standouts include Layla Claire as Helena and Elizabeth DeShong as Hermia; their voices blended excellently in their duet where they complain of their lovers’ rejection. Lisette Oropesa was a rather vulnerable Miranda. She gave an excellent turn in her arioso. Luca Pisaroni was comical yet sympathetic as Caliban. His role as Caliban allowed him to express the depth he is capable of. Countertenor Anthony Roth Costanzo was brilliant in the brief but crucial role of Ferdinand. Lastly, Placido Domingo, singing on his 71st birthday, was thrilling as Neptune. It is good to see that despite his age, his skill as a consummate performer has not diminished. However, his diction suffered at the expense of the fast runs of his music. In the end, that did not reduce the overall effect of his performance.

The production, directed by Phelim McDermott, combined elements of ancient Baroque productions with modern technology. The audience was able to see the full extent of the Metropolitan Opera’s resources, both in costuming as well as in technology. This allows modern audiences to experience the opera as someone would have back in Baroque times.

ENCHANTED-ISLAND-Claire.gifLayla Claire as Helena and Luca Pisaroni as Caliban

I have only two criticisms. On occasion, the music didn’t fit the text. Naturally, this genre of opera is predicated on the da capo aria, with its contrasting A and B sections as symbolic of the Aristotelian view of rhetoric that was popular at the time. However, most often, in the music of Sycorax, as well as the early music of Ariel, the text seemed to depict the opposite of what the music was communicating. In the case of Sycorax, her text would be asking for pity when the music was bloodthirsty for revenge. Also, the opera is long, especially the first act. Prospero’s aria, which closes Act I, in which he expresses dismay at all the confusion he has caused, could just as easily have been moved to the beginning of Act II. This would have allowed Act I to end with the fanfare at the end of Neptune’s scene: a much stronger point for a finale.

When everything is taken into consideration, The Enchanted Island is indeed a new opera. Despite the fact that none of the music is original, it successfully recasts all the facets of the genre in a new light, which concentrates less on politics and more on artistic expression. If the multitude of young children at the performance was any indication, this opera met its goals with great success. As long as it can draw new audiences and demonstrate the staying power of its music, the Baroque revival is on track.

Greg Moomjy

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):