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

Peter Grimes in Princeton

The Princeton Festival presents one opera annually, amidst other events. Its offerings usually alternate annually between 20th century and earlier operas. This year the Festival presented Benjamin Britten’s Peter Grimes, now a classic work, in a very effective and moving production.

Scintillating Strauss in Saint Louis

If you like your Ariadne on Naxos productions as playful as a box of puppies, then Opera Theatre of Saint Louis is the address for you.

Saint Louis Takes On ‘The Scottish Opera’

Opera Theatre of Saint Louis took forty years before attempting Verdi’s Macbeth but judging by the excellence of the current production, it was well worth the wait.

Anatomy Theater: A Most Unusual New Opera

On June 16, 2016, Los Angeles Opera with Beth Morrison Projects presented the world premiere of Pulitzer Prize-winning composer David Lang's Anatomy Theater at the Roy and Edna Disney/CalArts Theater (REDCAT).

Shalimar in St. Louis: Pagliaccio Non Son

In its compact forty-year history, the ambitious Opera Theatre of Saint Louis has just triumphantly presented its twenty-fifth world premiere with Shalimar the Clown.

Jenůfa, ENO

The sharp angles and oddly tilting perspectives of Charles Edwards’ set for David Alden’s production of Jenůfa at ENO suggest a community resting precariously on the security and certainty of its customs, soon to slide from this precipice into social and moral anarchy.

The “Other” Marriage of Figaro in a West Village Townhouse

Last week an audience of 50 assembled in the kitchen of a luxurious West Village townhouse for a performance of Marriage of Figaro.

West Wind: A new song-cycle by Sally Beamish

In a recent article in BBC Music Magazine tenor James Gilchrist reflected on the reason why early-nineteenth-century England produced no corpus of art song to match the German lieder of Schumann, Schubert and others, despite the great flowering of English Romantic poetry during this period.

Florencia en el Amazonas, NYCO

With the New York Premiere of Florencia en el Amazonas, the New York City Opera Steps Out of the Shadows of the Past

Idomeneo, re di Creta, Garsington

Opportunities to see Idomeneo are not so frequent as they might be, certainly not so frequent as they should be.

Don Carlo in San Francisco

Not merely Don Carlo, but the five-act Don Carlo in the 1886 Modena version! The welcomed esotericism of San Francisco Opera’s extraordinary spring season.

Jenůfa in San Francisco

The early summer San Francisco Opera season has the feel of a classy festival. There is an introduction of Spanish director Calixto Bieito to American audiences, a five-act Don Carlo and two awaited, inevitable role debuts, Karita Mattila as Kostelnička and Malin Bystrom as Janacek's Jenůfa.

Musings on the “American Ring

Now that the curtain has long fallen on the third and last performance of the Ring cycle at the Washington National Opera (WNO), it is safe to say that the long-anticipated production has been an unqualified success for the company, director Francesca Zambello, and conductor Philippe Auguin.

Nabucco, Covent Garden

Most of the attention during this revival of Daniele Abbado’s 2013 production of Nabucco has been directed at Plácido Domingo’s reprise of the title role, with the critical reception somewhat mixed.

The Cunning Little Vixen, Glyndebourne

Four years ago, almost to the day (13th to 12th), I saw Melly Still’s production of The Cunning Little Vixen during its first Glyndebourne run. I found myself surprised how much more warmly I responded to it this time.

London: A 90th birthday tribute to Horovitz

This recital celebrated both the work of the Park Lane Group, which has been supporting the careers of outstanding young artists for 60 years, and the 90th birthday of Joseph Horovitz, who was born in Vienna in 1926 and emigrated to England aged 12.

Opera Las Vegas: A Blazing Carmen in the Desert

Headed by General Director Luana DeVol, a world-renowned dramatic soprano, Opera Las Vegas is a relatively new company that presents opera with first-rate casts at the University of Las Vegas’s Judy Bayley Theater. In 2014 they presented Rossini’s The Barber of Seville and in 2015, Puccini’s Madama Butterfly. This year they offered a blazing rendition of Georges Bizet’s Carmen.

La bohème, Opera Holland Park

Ever since a friend was reported as having said he would like something in return for modern-dress Shakespeare (how quaint that term seems now, as if anyone would bat an eyelid!), namely an Elizabethan-dress staging of Look Back in Anger, I have been curious about the possibilities of ‘down-dating’, as I suppose we might call it. Rarely, if ever, do we see it, though.

Holland Festival: Alban Berg’s Wozzeck, Amsterdam

Leading a very muscular Dutch Radio Philharmonic, Principal Conductor Markus Stenz brilliantly delivered Alban Berg’s Wozzeck with a superb Florian Boesch in the lead and a mesmerising Asmik Grigorian as Marie his wife.

Pietro Mascagni: Iris

There can’t be that many operas that start with an extended solo for double bass. At Holland Park, the eerie, angular melody for lone bass player which opens Pietro Mascagni’s Iris immediately unsettled the relaxed mood of the summer evening.

OPERA TODAY ARCHIVES »

Performances

Sarah Connolly as Octavian [Photo by Clive Barda courtesy of English National Opera]
08 Feb 2012

Der Rosenkavalier, ENO

English National Opera’s revival of Richard Strauss’s fin de siècle Figaro is a heart-warming treat for a cold winter’s night.

Richard Strauss: Der Rosenkavalier

The Feldmarschallin: Amanda Roocroft; Octavian: Sarah Connolly; Baron Ochs: John Tomlinson; Valzacchi: Adrian Thompson; Annina: Madeleine Shaw; Sophie: Sophie Bevan; Herr von Faninal: Andrew Shore. Conductor: Edward Gardner. Director/Set Designer: David McVicar. Costume Designer: Tanya McCallin. Lighting Designer: Paule Constable. English National Opera, London, Wednesday, 1st February 2012.

Above: Sarah Connolly as Octavian

Photos by Clive Barda courtesy of English National Opera

 

Director David McVicar’s self-designed staging perfectly balances detail and spaciousness — an accomplished feat and a productive one; although the score is complex and infinitely nuanced, McVicar has been able to identify which details to foreground visually and which to allow to reside in the musical foundations. So, there is finely judged attention to detail but the resulting drama is not fussy or cluttered.

Rosenkavalier_ENO_2012_2.gifAmanda Roocroft as The Feldmarschallin

A single backdrop suffices: a curving Regency interior, slightly past its prime but still offering elegant evidence of the stylish sophistications of yesteryear — much like the Marschallin herself. Gilt and bronze drapes, curling creepers and cobwebbed chandeliers create a fairy-tale otherworldliness, and this is enhanced by Paule Constable’s clever lighting which, evoking subdued candlelight — the front of stage decked with row of crumbling candles (which Valzacchi snappily switches on at the start of the Mariendal scene) — establishes an ethereal distance. And, in the fading light of Act 1, a deepening, looming shadow of the Marschallin provides a visual echo of the ‘former’ self whose passing she laments.

McVicar’s direction judiciously mixes dense and intricate movements — as during the spooking of Ochs in the inn scene, when tumblers and goblins cavort and cartwheel wildly across the stage — with gentler gestures which flow as organically as Strauss’s score, particularly in the closing moments. The extremes of the wide stage are deployed to depict the emotional distance between characters; and at the close to emphasise the Marschallin’s isolation from the young lovers.

Rosenkavalier_ENO_2012_4.gifSophie Bevan as Sophie

John Tomlinson’s Baron Ochs of Lerchenau is a Falstaffian scally-wag, with all the bluff, swagger and ultimately forgivable self-interest of his Shakespearean predecessor. We may cringe at his hapless fumbling after any helpless female within arm’s reach; find his empty boasts and groundless vanity infuriating and his class-obsessed condescension distasteful. But, his candid self-knowledge and readiness to greet defeat with big-hearted generosity win our tolerance, tenderness and even, in the end, our pity. This is a comic turn par excellence, one which fortunately does not lapse into caricature; and, the humour is never achieved at the expense of musical control or accuracy. A master of crisp diction, Tomlinson’s every syllable is crystal clear. Weighty but flexible, his bright, gleaming tone is a joy, and it loses none of its gloss as he descends to the depths of his register. It may be a little over-strained at the top, but who cares? This Ochs relishes the amorous games even if they end in a rout; and Tomlinson’s complete delight in the theatrical and musical world which encompasses him is equally apparent.

As the elegant Marschallin, Amanda Roocroft is regal of bearing and radiant of voice; if she doesn’t quite have the velvety roundness of the ideal Straussian heroine, she uses light and shade to movingly reveal the Marschallin’s insecurities, the piano reflections of her Act 1 monologue wistfully conveying muted resignation.

The lustrous spin of Sophie Bevan’s response to the bestowal of the silver rose would melt the shining breastplate of even the most cold-blooded Rosenkavalier. Bevan captures both the tempestuousness of the feisty adolescent and the nascent serenity of the mature woman within. This Sophie is no slight soubrette; and in the Act 3 trio the Marschallin clearly recognises her rival’s powerful charm and determined will.

Sarah Connolly inhabits the eponymous envoy’s breeches with total authority, utterly convincing as the excitable young romancer who learns that the path of true love never quite runs smooth. By turns ebullient and grave, bullish and wistful, Connolly has unostentatiously mastered every nuance of character, even adopting a convincing rural brogue for the Act 3 deception of Ochs. Particularly resounding in her upper register, Connolly’s doubtful hesitation when forced to choose between past and future loves is painfully touching.

Rosenkavalier_ENO_2012_1.gifAdrian Thompson as Valzacchi, Sir John Tomlinson as Baron Ochs and Madeleine Shaw as Annina

A master of comic timing, Andrew Shore is typically impressive as the exasperated Herr von Faninal; Shore alone matched Tomlinson in his use of the text, though as his partner-in crime, Annina, Madeleine Shaw is confident and vocally arresting. And, there are many fine performances from those taking the smaller character roles, including Jennifer Rhys-Davis as Sophie’s chaperone — her urgent proddings with her fan keep her young charge firmly in line during her conversation with the rose bearer — and Gwyn Hughes Jones who produces a stunning Italianate glean as he entertains the Marschallin in Act 1 (and whose petulant flounce and pout indicates his irritation when his star turn is prematurely halted!). Ericson Mitchell is rather older than the prepubescent boys who are usually cast to play Mohammed, the Marschallin’s page, and I’m not sure his crafty retrieval of Sophie’s handkerchief and bold final bow to the audience really captures the cheeky breeziness of the closing bars of the score; but his presence does add an edgy touch of adolescent knowingness to the goings-on in the Marschallin’s boudoir.

Edward Gardner's reading of Strauss’s wonderfully evocative score is expansive and luscious. He creates an opulent but airy bed of sound through which a multitude of minutiae effortlessly reveal themselves: sinuous, seductive clarinet coils; impassioned horn commentaries; rising celli climaxes. Tempi are at times quite idiosyncratic — the final trio is slow, and Och’s waltzes wistfully elongated — but this complements, rather than negates, the dramatic flow. This is superb orchestral playing with scarcely a note out-of-place or ill-judged; the precision of chamber music within a vast orchestral canvas.

Claire Seymour

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):