11 Feb 2012
The Tales of Hoffmann, ENO
In many respects, The Tales of Hoffmann and Richard Jones would seem a good fit.
Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.
Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.
Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.
The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.
On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.
There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.
It has been a cold and gray winter in the south of France (where I live) made splendid by some really good opera, followed just now by splendid sunshine at Trafalgar Square and two exquisite productions at English National Opera.
At long last, Rise and Fall of the City of Mahagonny has come to the Royal Opera House. Kurt Weill’s teacher, Busoni, remains scandalously ignored, but a season which includes house firsts both of this opera and Szymanowsi’s King Roger, cannot be all bad.
Unsuk Chin’s Alice in Wonderland returned to the Barbican, London, shape-shifted like one of Alice’s adventures. The BBC Symphony Orchestra was assembled en masse, almost teetering off stage, creating a sense of tension. “Eat me, Drink me”. Was Lewis Carroll on hallucinogens or just good at channeling the crazy world of the subconscious?
Dominic Cooke’s 2005 staging of The Magic Flute and Richard Jones’s 1998 production of Hansel and Gretel have been brought together for Welsh National Opera’s spring tour under the unifying moniker, Spellbound.
Gaetano Donizetti and Malcolm Arnold might seem odd operatic bedfellows, but this double bill by the Guildhall School of Music and Drama offered a pair of works characterised by ‘madness, misunderstandings and mistaken identity’ which proved witty, sparkling and imaginatively realised.
Saturday, February 28, 2015, was the first night for Los Angeles Opera’s revival of its 2009 presentation of The Barber of Seville, a production by Emilio Sagi, which comes originally from Teatro Real in Madrid in cooperation with Lisbon’s Teatro San Carlos. Sagi and onsite director, Trevor Ross, made comedy the focus of their production and provided myriad sight gags which kept the audience laughing.
Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.
An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.
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.
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.
On Friday February 20, 2015, San Diego Opera presented Mozart’s Don Giovanni in a production by Nicholas Muni originally seen at Cincinnati Opera.
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.
In many respects, The Tales of Hoffmann and Richard Jones would seem a good fit.
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.
Barry 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.