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Opera San Jose has capped a wholly winning season with an emotionally engaging, thrillingly sung, enticingly fresh rendition of Puccini’s immortal masterpiece La bohème.
On Saturday evening April 22, 2017, San Diego Opera presented Giuseppe Verdi’s La traviata at the Civic Theater. Director Marta Domingo updated the production from the constrictions of the nineteenth century to the freedom of the nineteen twenties. Violetta’s fellow courtesans and their dates wore fascinating outfits and, at one point, danced the Charleston to what looked like a jazz combo playing Verdi’s score.
Thomas Adès’s third opera, The Exterminating Angel, is a dizzying, sometimes frightening, palimpsest of texts (literary and cinematic) and music, in which ceaseless repetitions of the past - inexact, ever varying, but inescapably compulsive - stultify the present and deny progress into the future. Paradoxically, there is endless movement within a constricting stasis. The essential elements collide in a surreal Sartrean dystopia: beasts of the earth (live sheep and a simulacra of a bear) roam, a disembodied hand floats through the air, water spouts from the floor and a burning cello provides the flames upon which to roast the sacrificial lambs. No wonder that when the elderly Doctor tries to restore order through scientific rationalism he is told, “We don't want reason! We want to get out of here!”
Is A Dog’s Heart even an opera? It is sung by opera singers to live
music. Alexander Raskatov’s score, however, is secondary to the incredible
stage visuals. Whatever it is, actor/director Simon McBurney’s first stab at
opera is fantastic theatre. Its revival at Dutch National Opera, where it
premiered in 2010, is hugely welcome.
I kept hearing from knowledgeable opera fanatics that the Israeli Opera (IO) in Tel Aviv was a surprising sure bet. So I made my way to the Homeland to hear how supposedly great the quality of opera was. And man, I was in for treat.
At Phoenix’s Symphony Hall on Friday evening April 7, Arizona Opera offered its final presentation of the 2016-2017 season, Gioachino Rossini’s Cinderella (La Cenerentola). The stars of the show were Daniela Mack as Cinderella, called Angelina in the opera, and Alek Shrader as Don Ramiro. Actually, Mack and Shrader are married couple who met singing these same roles at San Francisco Opera.
On Saturday evening April 1, 2017, Placido Domingo and Los Angeles Opera celebrated their tenth year of training young opera artists in the Domingo-Colburn-Stein Program. From the singing I heard, they definitely have something of which to be proud.
The town’s name itself “Baden-Baden” (named after Count Baden) sounds already enticing. Built against the old railway station, its Festspielhaus programs the biggest stars in opera for Germany’s largest auditorium. A Mecca for music lovers, this festival house doesn’t have its own ensemble, but through its generous sponsoring brings the great productions to the dreamy idylle.
The Festspielhaus in Baden-Baden pretty much programs only big stars. A prime example was the Fall Festival this season. Grigory Sokolov opened with a piano recital, which I did not attend. I came for Cecilia Bartoli in Bellini’s Norma and Christian Gerhaher with Schubert’s Die Winterreise, and Anne-Sophie Mutter breathtakingly delivering Mendelssohn’s Violin Concerto together with the London Philharmonic Orchestra. Robin Ticciati, the ballerino conductor, is not my favorite, but together they certainly impressed in Mendelssohn.
Mahler as dramatist! Mahler Symphony no 8 with Vladimir Jurowski and the London Philharmonic Orchestra at the Royal Festival Hall. Now we know why Mahler didn't write opera. His music is inherently theatrical, and his dramas lie not in narrative but in internal metaphysics. The Royal Festival Hall itself played a role, literally, since the singers moved round the performance space, making the music feel particularly fluid and dynamic. This was no ordinary concert.
Imagine a fête galante by Jean-Antoine Watteau brought to life, its colour and movement infusing a bucolic scene with charm and theatricality. Jean-Philippe Rameau’s opéra-ballet Les fêtes d'Hébé, ou Les talens lyriques, is one such amorous pastoral allegory, its three entrées populated by shepherds and sylvans, real characters such as Sapho and mythological gods such as Mercury.
Whatever one’s own religious or spiritual beliefs, Bach’s St Matthew Passion is one of the most, perhaps the most, affecting depictions of the torturous final episodes of Jesus Christ’s mortal life on earth: simultaneously harrowing and beautiful, juxtaposing tender stillness with tragic urgency.
Lindy Hume’s sensational La bohème at the Berliner
Staatsoper brings out the moxie in Puccini. Abdellah Lasri emerged as a
stunning discovery. He floored me with his tenor voice through which he
embodied a perfect Rodolfo.
Listening to Moritz Eggert’s Caliban is the equivalent of
watching a flea-ridden dog chasing its own tail for one-and-half hours. It
scratches, twitches and yelps. Occasionally, it blinks pleadingly, but you
can’t bring yourself to care for such a foolish animal and its
A large audience packed into the Wigmore Hall to hear the two Baroque rarities featured in this melodious performance by Christian Curnyn’s Early Opera Company. One was by the most distinguished ‘home-grown’ eighteenth-century musician, whose music - excepting some of the lively symphonies - remains seldom performed. The other was the work of a Saxon who - despite a few ups and downs in his relationship with the ‘natives’ - made London his home for forty-five years and invented that so English of genres, the dramatic oratorio.
On March 24, 2017, Los Angeles Opera revived its co-production of Jacques Offenbach’s The Tales of Hoffmann which has also been seen at the Mariinsky Opera in Leningrad and the Washington National Opera in the District of Columbia.
Ermonela Jaho is fast becoming a favourite of Covent Garden audiences, following her acclaimed appearances in the House as Mimì, Manon and Suor Angelica, and on the evidence of this terrific performance as Puccini’s Japanese ingénue, Cio-Cio-San, it’s easy to understand why. Taking the title role in the first of two casts for this fifth revival of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, Jaho was every inch the love-sick 15-year-old: innocent, fresh, vulnerable, her hope unfaltering, her heart unwavering.
Calliope Tsoupaki’s latest opera, Fortress Europe, premiered
as spring began taming the winter storms in the Mediterranean.
To celebrate its 40th anniversary New Sussex Opera has set itself the challenge of bringing together the six scenes - sometimes described as six discrete ‘tone poems’ - which form Delius’s A Village Romeo and Juliet into a coherent musico-dramatic narrative.
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.
17 Feb 2012
The Charterhouse of Parma in Marseille
Henri Sauguet is not entirely unknown in opera circles — divas Regine Crespin, Felicity Lott, Nathalie Dessay and Leontyne Price have included his arias in their solo albums. Plus there is a recording of his 1954 opera-comique Les Caprices de Marianne.
These days at least three (Milhaud, Poulenc, Honegger) of the famous les six are still quite recognizable names. But in Paris during the musically vibrant 1920’s and 30‘s Henri Sauguet of les trois (a group that promoted les six, Eric Satie and themselves) was a quite well known name as well. Put all that musical baggage on top of an essentially Gounod sensibility and you have a good idea of the Sauguet poetic. At least operatically.
Both Stendhal and Sauguet claim to like simple art hidden in complex language. So Sauguet took on Stendhal’s difficult novel La Chartreuse de Parme to make it into a simple opera and just now the Opéra de Marseille resurrected this piece after 62 years of oblivion and made it a plausible candidate to enter the repertoire.
To a man the audience in Marseille will have read Stendhal’s novel, the story of a very complicated young man too much loved in too many ways by his very complicated aunt. He finally finds what he believes is love (though fortunately it is impossible love otherwise he would not have known what it was). The Church gets involved too.
It is a quite vivid work of fiction, thus every one of us at these Marseille performances intimately knew the cast of characters and voilà there they were! The real Fabrice in the person of tenor Sébastien Guèze and the equally real Duchess of Sanseverina in the person of mezzo Marie-Ange Todorovitch.
In the novel Fabrice has affairs with first an actress and then an opera singer (neither profession known for depth of personal character) before he finally succumbs to an infatuation with an adolescent girl, Clélia Conti, the only one of his lovers to make it into the opera. And there she was — soprano Nathalie Manfrino! Casting so perfect it was fiction itself.
Though baritone Nicolas Cavallier made a plausible Comte Mosca and baritone Jacques Calatatud made a good Barbone (the guard Fabrice beats up) the balance of the casting disappointed, particularly bass Jean-Phillippe Lafont as an uncomfortable, harsh, cruel General Conti rather than Stendhal’s very complicated courtier and caring father.
Neither Ludovic nor Theodolinde, tenor Eric Huchet and mezzo Sophie Pondjiclis had the physical or vocal edge to capture Stendhal’s vividly if minimally drawn characters that color Fabrice’s escapades in Bologna. Sauguet’s opera renders them as buffo relief rather than as Stendhal’s plot facilitators who just happen to be of impressive character.
But that is the novel. It will have been a daunting task for Sauguet and his librettist Armand Lunel to reduce a famous six hundred page novel to a little (by comparison) theater piece, and to musically rather than narratively structure its scenes. They and the Opéra de Marseille actually succeeded fairly well in giving a taste, albeit a clumsy one, of Stendhal’s novel. There were the painful omissions, like the actress and the opera singer, and the far more painful reordering and recasting of Stendhal’s episodes to arrive at a convincing dramatic process.
But succeed they did. In Act I we had to come to grips with these plot changes, and accommodate an unfamiliar musical language. Very successful persuasion came from the pit, in the scope and sweep of big, very big and very sophisticated music that conductor Lawrence Foster drew out of his very willing orchestra. Mo. Foster has just been named music director of the Opéra de Marseille and has made a huge first impression negotiating this bit of post-Sentimentalism, not similar but so comparable to Cilea and Giordano in its over-the-top and distinctly over ripe Romanticism.
Marseille performed acts one and two as the first half of the performance, glossing over the crucial time lapse and change of place that transpires between the acts — a mistake because it kept us from digesting the dramatic and musical complexities that occur in a box at a La Scala performance. As it was the first half was dwarfed by the ball at the Sanseverina palace in Parma that was hugely long and complex, and musically handled so deftly by Sauguet that it resembled the best of Tchaikowsky’s ballets.
Acts three and four brought the lyric gifts of Sauguet to the fore. They are considerable. There was scene after scene of dizzying arias and duets for Fabrice and Clélia. Sauguet’s vocal lines are florid and elaborate, not with ornamentation but complex cantabile melodies that seem rarely to move stepwise, and often move in fifths, sixths, even octaves! These arias and scenes are quite extended (like Stendhal’s interminable accounts of the slightest movement of mind and soul of his protagonists), and in high tessatura.
Both young Sébastien Guèze and Nathalie Manfrino made it to the end. It was herculean. While Mlle. Manfrino did show some fatigue, she never faltered in a convincing delivery of Sauguet’s vocal line. Mr. Gueze has mastered a falsetto that he implemented from time to time, particularly at his death (without love Fabrice simply wasted away), when perhaps a full voice pianissimo would have been more effective. But after three hours at full forte, in fact a brilliant vocal and histrionic performance, this observation is purely gratuitous.
The opera was staged by Renée Auphan, the former general director of the Opéra de Marseille. To the great enrichment of operatic France she was the instigator of several equally interesting revivals during her reign. The production and staging was adequate at best. Though of period credibility the unfortunate costumes by Katia Duflot read as haute couture rather than as character completion. Sauguet’s opera could have profited from a more sophisticated production.
Click here for an English translation of the novel.