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

Poliuto, Glyndebourne

Donizetti’s Poliuto at Glyndebourne could well become one of of the great Glyndebourne classics.

Carmen by ENO

Dystopic vision of Carmen, brought to life by vibrantly gripping performances

Pacific Opera Project Presents Ariadne auf Naxos

Pacific Opera Project, a small Los Angeles company, presented a production of Richard Strauss's Ariadne auf Naxos at the Ebell Club with an excellent group of young singers at the beginning of what should be good careers.

Varispeed pushes the possibilities of opera forward with Robert Ashley’s Crash

Six people, dressed in ordinary clothing, sitting in a row at desks adorned only with microphones and glasses of water, and talking for ninety minutes: is it opera?

Rising Stars in Concert, Lyric Opera of Chicago

The spring concert of Rising Stars in Concert, sponsored by and featuring current members of the Patrick G. and Shirley W. Ryan Opera Center at Lyric Opera of Chicago, showcased a number of talents that will no doubt continue to grace the stages of the world’s operatic theaters.

The Singers Sparkle in New York Opera Exchange’s Carmen

New York Opera Exchange’s production of Carmen from May 8th to 10th highlighted that which opera devotees have been saying for years: Opera, far from being dead, is vibrant and evolving.

‘Where’er You Walk’: Handel’s Favourite Tenor

I have sometimes lamented the preference of Ian Page’s Classical Opera for concert performances and recordings over staged productions, albeit that their renditions of eighteenth-century operas and vocal works are unfailingly stylish, illuminating and supported by worthy research.

The Pirates of Penzance, ENO

Topsy Turvy, Mike Leigh’s 1999 film starring Timothy Spall and Jim Broadbent, dramatized the fraught working relationship of William Gilbert and Arthur Sullivan; it won four Oscar nominations (garnering two Academy Awards, for costume and make-up) and is a wonderful exploration of the creative process of bringing a theatrical work to life.

Manitoba Opera: Turandot

There’s little doubt that Puccini’s Turandot is a flawed, illogical fairytale. Yet it continues to resonate today with its undying “love shall conquer all” ethos, where even the most heinous crimes may be forgiven by that which makes the world go ‘round.

Mariachi Opera El Pasado Nunca se Termina Comes to San Diego

On April 25, 2015, San Diego Opera presented it’s second Mariachi opera: El Pasado Nunca se Termina (The Past is Never Finished) by Jose “Pepe” Martinez, Leonard Foglia and Mariachi Vargas de Tecalitlán.

Antonio Pappano: Royal Opera House Orchestral Concerts

Ambition achieved! Antonio Pappano brought the Orchestra of the Royal Opera House out of the pit and onto the stage, the centre of attention in their own right.

Bedřich Smetana: Dalibor, Barbican Hall

Jiří Bělohlávek’s annual Czech opera series at the Barbican, London, with the BBC SO continued with Bedřich Smetana’s Dalibor.

Orlando Explores Art Without Boundaries

R.B. Schlather’s production of Handel’s Orlando asks the enigmatic question: Where do the boundaries of performance art begin, and where do they end?

The Virtues of Things

A good number of recent shorter operas, particularly those performed in this country, made a stronger impression with their libretti than their scores.

Król Roger, Royal Opera

It has taken almost 89 years for Karol Szymanowski’s Król Roger to reach the stage of Covent Garden.

San Diego Opera Celebrates 50 Years of Great Singing

San Diego Opera, the company that General Manager Ian Campbell had scheduled for demolition, proved that it is alive and singing as beautifully as ever. Its 2015 season was cut back slightly and management has become a bit leaner, but the company celebrated its fiftieth season in fine style with a concert that included many of the greatest arias ever written.

Hercules vs Vampires: Film Becomes Opera!

In the early sixties, Italian film director Mario Bava was making pictures with male body builders whose well oiled physiques appeared spectacular on the screen.

J. C. Bach: Adriano in Siria

At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme each season during the next 27 years to exploring the music by Mozart and his contemporaries which was being written and performed exactly 250 years previously.

Bethan Langford, Wigmore Hall

The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.

Tansy Davies: Between Worlds (world premiere)

An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.

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):