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

Marie McDunnough and Jack Rennie, Artists of Atelier Ballet [Photo by Bruce Zinger courtesy of Opera Atelier]
19 Apr 2012

Armide, Opera Atelier

I have to rethink my week, because somehow I have to get to see Opera Atelier’s production of Jean-Baptiste Lully’s Armide again.

Jean-Baptiste Lully: Armide

Click here for cast and production information.

Above: Marie McDunnough and Jack Rennie, Artists of Atelier Ballet

Photos by Bruce Zinger courtesy of Opera Atelier

 

Possibly the finest opera of the 17th Century, and certainly one of the greatest operas ever written, it’s almost completely unknown to most people.

Why see it again, and why should you see it?

Forget what you think baroque opera is supposed to do. Instead of the alternation between recitatives and arias, singers showing off their skills with elaborate coloratura and high notes that stop the story in its tracks, Lully’s arioso writing keeps moving, often punctuated by dance, and avoiding the stasis one finds in an Italian baroque aria.

120412_17954.pngPeggy Kriha Dye as Armide

Armide is a story of love and duty. Set in the Crusades, Armide is an Islamic Princess, while Renaud, her chief antagonist — and eventually her lover — is a Christian Knight. The story elicits so many odd moments of personal conflict and ambivalence that when Jean-Luc Godard set passages from the opera in the film Aria, they illustrate a kind of misogynistic torment of women that seems to lead to madness. I don’t encourage you to see Godard’s film, at least until you’ve encountered the work as written.

Watching the opera tonight I thought of a film with a similar offbeat mythology, namely Mr & Mrs Smith, a story about a husband and wife who are hired killers. For awhile in the film they try to kill each other, not so very different from the antagonism one sometimes experiences in marriage, but taken to a comical extreme.

Or as Pat Benatar tried to tell us, “love is a battlefield”.

That metaphorical understanding of the opera’s epic battles — in other words, that Armide is less a matter of crusading and more a matter of loving — is the key to the new production. In OA’s previous take on Lully’s opera, at least in what Director Marshall Pynkoski spoke of in his notes– they seemed to focus mostly on the politics, so that it ended on an anti-climax, as Armide was abandoned by her lover Renaud.

120412_16528.pngPeggy Kriha Dye as Armide and Colin Ainsworth as Renaud

This time Pynkoski paid less attention to matters of state and instead concentrated on matters of the heart. In Lully’s style of opera, dance is integral to the action, and so it’s no wonder that choreographer Jeannette Lajeunesse Zingg was involved more in Armide than perhaps any previous opera from OA.

Dancer Jack Rennie is the most memorable personage in the work (even without singing), playing the figure of Love. For awhile Armide seeks to escape from love, and enlists the aid of Hate, a demonic figure from Hell, to exorcise Love from inside her. The small part of Hate was memorably sung by Curtis Sullivan. Hate brings demons to torture Love, but in the end Armide chooses Love and rejects Hate (which makes him even angrier).

Both leads were outstanding. Colin Ainsworth as Renaud reprised the role he sang in the previous production, every note exactly on pitch. The voice is as gentle and sweet sounding as ever, but seems to have grown bigger. Peggy Kriha Dye as Armide has a far more difficult part to play. Where Renaud has to mostly look heroic and then fall in love, Armide is a far more ambivalent character of contradictory passions. The dramatic highlight of the evening was Dye’s scene when she comes upon the sleeping Renaud, intending to kill him.

This sequence — complete with daggers — might be why Jean-Luc Godard decided to show Armide as a window on the oppression of women, with his chief insight being that love makes women crazy. We saw Dye’s portrayal change from the confident attacker, seduced by Ainsworth’s vulnerable form, and tormented by indecision, finally incapable of striking.

120412_17213.pngOlivier LaQuerre as Chevalier Ubalde and Artists of Atelier Ballet

The throbbing heart of the production is Tafelmusik Orchestra led by David Fallis. Singers were never covered, but always supported sensitively, even though the score is full of drumming and strong rhythms reminiscent of military music. The other highlight came unexpectedly from Tafelmusik Chamber Choir, in a sequence where we are being told about the delusory nature of reality. The music is a delightfully sensual lure, even as the text tells us otherwise.

Designer Gerard Gauci’s lovely sets are more elaborate than before, in anticipation of being toured first to Versailles Theatre, and then Glimmerglass for the summer.

But first they’ll finish out the week at the Elgin Theatre until Saturday April 21st.

Leslie Barcza

This review is reprinted from Barcza Blog with permission of the author.

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):