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

Classical Opera/The Mozartists celebrate 20 years of music-making

Classical Opera celebrated 20 years of music-making and story-telling with a characteristically ambitious and eclectic sequence of musical works at the Barbican Hall. Themes of creation and renewal were to the fore, and after a first half comprising a variety of vocal works and short poems, ‘Classical Opera’ were succeeded by their complementary alter ego, ‘The Mozartists’, in the second part of the concert for a rousing performance of Beethoven’s Choral Symphony - a work described by Page as ‘in many ways the most iconic work in the repertoire’.

Back to Baroque and to the battle lines with English Touring Opera

Romeo and Juliet, Rinaldo and Armida, Ramadès and Aida: love thwarted by warring countries and families is a perennial trope of literature, myth and history. Indeed, ‘Love and war are all one,’ declared Miguel de Cervantes in Don Quixote, a sentiment which seems to be particularly exemplified by the world of baroque opera with its penchant for plundering Classical Greek and Roman myths for their extreme passions and conflicts. English Touring Opera’s 2017 autumn tour takes us back to the Baroque and back to the battle-lines.

Gluck’s Orphée et Eurydice at Lyric Opera of Chicago

Christoph Willibald von Gluck’s Orphée et Eurydice opened the 2017–18 season at Lyric Opera of Chicago.

Michelle DeYoung, Mahler Symphony no 3 London

The Third Coming ! Esa-Pekka Salonen conducted Mahler Symphony no 3 with the Philharmonia at the Royal Festival Hall with Michelle DeYoung, the Philharmonia Voices and the Tiffin Boys’ Choir. It was live streamed worldwide, an indication of just how important this concert was, for it marks the Philharmonia's 34-year relationship with Salonen.

King Arthur at the Barbican: a semi-opera for the 'Brexit Age'

Purcell’s and Dryden’s King Arthur: or the British Worthy presents ‘problems’ for directors. It began life as a propaganda piece, Albion and Albanius, in 1683, during the reign of Charles II, but did not appear on stage as King Arthur until 1691 when William of Orange had ascended to the British Throne to rule as William III alongside his wife Mary and the political climate had changed significantly.

Anne Schwanewilms sings Schreker, Schubert, Liszt and Korngold

On a day when events in Las Vegas cast a shadow over much of the news this was not the most comfortable recital to sit through for many reasons. The chosen repertoire did, at times, feel unduly heavy - and very Germanic - but it was also unevenly sung.

The Life to Come: a new opera by Louis Mander and Stephen Fry

It began ‘with a purely obscene fancy of a Missionary in difficulties’. So E.M. Forster wrote to Siegfried Sassoon in August 1923, of his short story ‘The Life to Come’ - the title story of a collection that was not published until 1972, two years after Forster’s death.

Aida opens the season at ENO

Director Phelim McDermott’s new Aida at ENO seems to have been conceived more in terms of what it will look like rather than what the opera is or might be ‘about’. And, it certainly does look good. Designer Tom Pye - with whom McDermott worked for ENO’s Akhnaten last year (alongside his other Improbable company colleague, costume designer Kevin Pollard) - has again conjured striking tableaux and eye-catching motifs, and a colour scheme which balances sumptuous richness with shadow and mystery.

La Traviata in San Francisco

A beautifully sung Traviata in British stage director John Copley’s 1987 production, begging the question is this grand old (30 years) production the SFO mise en scène for all times.

The Judas Passion: Sally Beamish and David Harsent offer new perspectives

Was Judas a man ‘both vile and justifiably despised: an agent of the Devil, or a man who God-given task was to set in train an event that would be the salvation of Humankind’? This is the question at the heart of Sally Beamish’s The Judas Passion, commissioned jointly by the Orchestra of the Age of Enlightenment and the Philharmonia Baroque of San Francisco.

Choral at Cadogan: The Tallis Scholars open a new season

As The Tallis Scholars processed onto the Cadogan Hall platform, for the opening concert of this season’s Choral at Cadogan series, there were some unfamiliar faces among its ten members - or faces familiar but more usually seen in other contexts.

Stars of Lyric Opera 2017, Millennium Park, Chicago

As a prelude to the 2017-18 season Lyric Opera of Chicago presented its annual concert, Stars of Lyric Opera at Millennium Park, during the last weekend. A number of those who performed in this event will be featured in roles during the coming season.

Die Zauberflöte at the ROH: radiant and eternal

Watching David McVicar’s 2003 production of Die Zauberflöte at the Royal Opera House - its sixth revival - for the third time, I was struck by how discerningly John MacFarlane’s sumptuous designs, further enhanced by Paule Constable’s superbly evocative lighting, communicate the dense and rich symbolism of Mozart’s Singspiel.

Fantasy in Philadelphia: The Wake World

Composer and librettist David Hertzberg’s magical mystery tour that is The Wake World opened to a cheering sold out audience that was clearly enraptured with its magnificent artistic achievement.

A Mysterious Lucia at Forest Lawn

On September 10, 2017, Pacific Opera Project (POP) presented Gaetano Donizetti’s Lucia di Lammermoor in a beautiful outdoor setting at Forest Lawn. POP audiences enjoy casual seating with wine, water, and finger foods at each table. General and Artistic Director Josh Shaw greeted patrons in a “blood stained” white wedding suit. Since Lucia is a Scottish opera, it opened with an elegant bagpipe solo calling members of the audience to their seats.

This is Rattle: Blazing Berlioz at the Barbican Hall

Blazing Berlioz' The Damnation of Faust at the Barbican with Sir Simon Rattle, Bryan Hymel, Christopher Purves, Karen Cargill, Gabor Bretz, The London Symphony Orchestra and The London Symphony Chorus directed by Simon Halsey, Rattle's chorus master of choice for nearly 35 years. Towards the end, the Tiffin Boys' Choir, the Tiffin Girls' Choir and Tiffin Children's Choir (choirmaster James Day) filed into the darkened auditorium to sing The Apotheosis of Marguerite, their voices pure and angelic, their faces shining. An astonishingly theatrical touch, but absolutely right.

Moved Takes on Philadelphia Headlines

There‘s a powerful new force in the opera world and its name is O17.

Philly Flute’s Fast and Furious Frills

If you never thought opera could make your eyes cross with visual sensory over load, you never saw Opera Philadelphia’s razzle-dazzle The Magic Flute.

At War With Philadelphia

Enterprising Opera Philadelphia has included a couple of intriguing site-specific events in their O17 Festival line-up.

The Mozartists at the Wigmore Hall

Three years into their MOZART 250 project, Classical Opera have launched a new venture, The Mozartists, which is designed to allow the company to broaden its exploration of the concert and symphonic works of Mozart and his contemporaries.

OPERA TODAY ARCHIVES »

Performances

Georgia Jarman [Photo by Chris Christodoulou courtresy of English National Opera]
11 Feb 2012

The Tales of Hoffmann, ENO

In many respects, The Tales of Hoffmann and Richard Jones would seem a good fit.

Jacques Offenbach: The Tales of Hoffmann

Hoffmann: Barry Banks; Stella, Olympia, Antonia, Giulietta: Georgia Jarman; Muse, Nicklausse: Christine Rice; Counsellor Lindorf, Coppélius, Dr Miracle, Captain Dapertutto: Clive Bayley; Spalanzani: Iain Paton; Crespel, Luther: Graeme Danby; Andrès, Cochenille, Frantz, Pitchinaccio: Simon Butteriss; Voice of Antonia’s mother: Catherine Young; Schlémil: Tom Fackrell; Students: Richard Gerard Jones, Luke Owens, Sebastian Sykes. Director: Richard Jones; Set Designer: Giles Cadle; Costumes: Buki Schiff; Lighting: Mimi Jordan Sherin; Movement: Lucy Burge. Chorus of the English National Opera (chorus master: Francine Merry); Orchestra of the English National Opera/ Antony Walker (conductor). Coliseum, London, Friday 10 February 2012.

Above: Georgia Jarman

Photos by Chris Christodoulou courtesy of English National Opera

 

An opéra fantastique, with which Offenbach at the end of his career wished to show the world that he was not a mere purveyor of enjoyable froth, certainly offers plenty of opportunity for the surreally-inclined. (Jones’s controversial 1990s Ring for the Royal Opera House garnered plaudits and brickbats on that basis. Sadly, if not entirely unpredictably, it proved not to be Bernard Haitink’s idea of a Ring at all.) The pipe emblazoned upon the stage curtain and the pipes being smoked by Hoffmann and the students seem to hold the key to the director’s conception. Whatever it is that is being smoked would appear to lie behind the visions. Fair enough, but there is perhaps a little too much of the surface psychedelic, especially during the second (here, first) act, and not enough truly Romantic, Gothic darkness. We are dealing with Offenbach rather than Hoffmann himself, of course, but it would be beneficial to see, if not to hear, a little more of the hero, a still grossly underappreciated figure in the English-speaking world. (One really needs German.) Some of what we see resembles a little too closely Jones’s Covent Garden productions of Gianni Schicchi and The Gambler. Difficult though it may be to feel sympathy for the 1950s, a decade of closed-mindedness if every there were one, is it always necessary to send them up so garishly as in the Olympia act? (At least I assume that was what was being attempted.) Why a gorilla was wandering around the stage before and during the fourth (here, third) act, I simply have no idea. Its inclusion seemed to add nothing beyond reminding us of the ménagerie in that splendid production of The Gambler. The appearance of Dr Miracle as Antonia opens her music is very nicely handled, though, likewise the appearance of her mother’s voice through a gramophone trumpet. It is, then, an enjoyable production; costumes, movement, and lighting are all well handled in the production’s own terms. The same basic set is varied imaginatively between acts, providing a finer sense of overall framing than the production as a whole. I just could not help but think that Offenbach’s desire to be taken seriously might have been taken a little more seriously.

From the singers, there was much to enjoy. Barry Banks sang a decent enough English-language Hoffmann, though his style was more Italianate, occasionally jarringly so, than Gallic. If there was not an especially strong sense of Hoffmann as artist, especially at the end, then that was at least as much down to production as performance. Christine Rice, however, made a fine Nicklausse. (She also appeared as Hoffmann’s Muse, that doubling respecting Offenbach’s original intention.) Again, one could not help but wish that the words were in French, but Rice’s palpable sincerity won through time and time again, ‘Vois sous l'archet frémissant’ – I cannot recall what the English was – a particular, soaring highlight. Georgia Jarman, making her ENO debut, truly impressed by taking on all four of Hoffmann’s lovers: Stella, Olympia, Antonia, and Giulietta. Her characterisation varied, bringing something quite new to each of them. Antonia’s fate was rendered as moving as the production – and the music – would allow; Giulietta proved properly seductive; and save for a few slight intonational problems at the very beginning, Olympia’s mechanical coloratura was despatched with great aplomb. Catherine Young’s off-stage turn as the Mother’s Voice (a ghost, traditionally) was beautifully performed. Mention must also be made of Simon Butteriss, kept busy with four different roles: Andrès, Cochenille, Frantz, and Pitichinaccio. Clearly at home in drag as Cochenille, he also provided a wickedly camp turn as the servant Frantz.

The_Tales_of_Hoffmann_Barry.gifBarry Banks and Georgia Jarman

The ENO orchestra once again proved to be on fine form, though Antony Walker’s direction was less sure-footed. Here, at least, one might have hoped for a little more Gallic suavity; there were times when his approach veered a little close to thinned-down Tchaikovsky (less a point of view, it seemed, than a lack of idiomatic command). Given that the work was performed in English, spoken dialogue might have been a better bet than recitative. Amplification of the chorus at the end was surely both unnecessary and oddly sentimentalising, as if we had come to the end of a Hollywood ‘Romantic comedy’. Again, Offenbach’s desire to be taken seriously might have been taken more seriously. The production is worth seeing, and the cast certainly makes it worth hearing, but one would struggle to discern a message, let alone a Konzept.

Mark Berry

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):