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

Kaufmann's first Otello: Royal Opera House, London

Out of the blackness, Keith Warner’s new production of Verdi’s Otello explodes into being with a violent gesture of fury. Not the tempest raging in the pit - though Antonio Pappano conjures a terrifying maelstrom from the ROH Orchestra and the enlarged ROH Chorus hurls a blood-curdling battering-ram of sound into the auditorium. Rather, Warner offers a spot-lit emblem of frustrated malice and wrath, as a lone soldier fiercely hurls a Venetian mask to the ground.

Don Carlo in Marseille

First mounted in 2015 at the Opéra National de Bordeaux this splendid Don Carlo production took stage just now at the Opéra de Marseille with a completely different cast and conductor. This Marseille edition achieved an artistic stature rarely found hereabouts, or anywhere.

Diamanda Galás: Savagery and Opulence

Unconventional to the last, Diamanda Galás tore through her Barbican concert on Monday evening with a torrential force that shattered the inertia and passivity of the modern song recital. This was operatic activism, pure and simple. Dressed in metallic, shimmering black she moved rather stately across the stage to her piano - but there was nothing stately about what unfolded during the next 90 minutes.

Schubert Wanderer Songs - Florian Boesch, Wigmore Hall

A summit reached at the end of a long journey: Florian Boesch and Malcolm Martineau at the Wigmore Hall, as the two-year Complete Schubert Song series draws to a close. Unmistakably a high point in the whole traverse. A well-planned programme of much-loved songs performed exceptionally well, with less well known repertoire presented with intelligent flourish.

La Bohème in San Francisco

In 2008 it was the electrifying conducting of Nicola Luisotti and the famed Mimì of Angela Gheorghiu, in 2014 it was the riveting portrayals of Michael Fabbiano’s Rodolfo and Alexey Markov’s Marcelo. Now, in 2017, it is the high Italian style of Erika Grimaldi’s Mimì — and just about everything else!

A heart-rending Jenůfa at Grange Park Opera

Katie Mitchell’s 1998 Welsh National Opera production of Janáček’s first mature opera, Jenůfa, is a good choice for Grange Park Opera’s first season at its new home, West Horsley Place. Revived by Robin Tebbutt, Mitchell and designer Vicki Mortimer’s 1930s urban setting emphasises the opera’s lack of sentimentality and subjectivism, and this stark realism is further enhanced by the narrow horseshoe design of architect Wasfi Kani’s ‘Theatre in the Woods’ whose towering walls and narrow width seem to add further to the weight of oppression which constricts the lives of the inhabitants.

Pelléas et Mélisande at Garsington Opera

“I am nearer to the greatest secrets of the next world than I am to the smallest secrets of those eyes!” So despairs Golaud, enflamed by jealousy, suspicious of his mysterious wife Mélisande’s love for his half-brother Pelléas. Michael Boyd’s thought-provoking new production of Debussy’s Pelléas et Mélisande at Garsington Opera certainly ponders plentiful secrets: of the conscience, of the subconscious, of the soul. But, with his designer Tom Piper, Boyd brings the opera’s dreams and mysteries into landscapes that are lit, symbolically and figuratively, with precision.

Carmen: The Grange Festival

The Grange Festival, artistic director Michael Chance, has opened at Northington Grange giving everyone a chance to see what changes have arisen from this change of festival at the old location. For our first visit we caught the opening night of Annabel Arden's new production of Bizet's Carmen on Sunday 11 June 2017. Conducted by Jean-Luc Tingaud with the Bournemouth Symphony Orchestra in the pit, the cast included Na'ama Goldman as Carmen, Leonardo Capalbo as Don Jose, Shelley Jackson as Micaela and Phillip Rhodes as Escamillo. There were also two extra characters, Aicha Kossoko and Tonderai Munyevu as Commere and Compere. Designs were by Joanna Parker (costume co-designer Ilona Karas) with video by Dick Straker, lighting by Peter Mumford. Thankfully, the opera comique version of the opera was used, with dialogue by Meredith Oakes.

Don Giovanni in San Francisco

San Francisco Opera revved up its 2011 production of Don Giovanni with a new directorial team and a new conductor. And a blue-chip cast.

Dutch National Opera puts on a spellbinding Marian Vespers

A body lies in half-shadow, surrounded by an expectant gathering. Our Father is intoned in Gregorian chant. The solo voices bloom into a chorus with a joyful flourish of brass.

Into the Wood: A Midsummer Night's Dream at Snape Maltings

‘I know a bank where the wild thyme blows, Where Oxlips and the nodding Violet grows.’ In her new production of Britten’s A Midsummer Night’s Dream, Netia Jones takes us deep into the canopied groves of Oberon’s forest, luring us into the nocturnal embrace of the wood with a heady ‘physick’ of disorientating visual charms.

Rigoletto in San Francisco

Every once in a while a warhorse redefines itself. This happened last night in San Francisco when Rigoletto propelled itself into the ranks of the great masterpieces of opera as theater — the likes of Falstaff and Tristan and Rossini’s Otello.

My Fair Lady at Lyric Opera of Chicago

In its spring musical production of Alan Jay Lerner and Frederick Loewe’s My Fair Lady Lyric Opera of Chicago has put together an ensemble which does ample justice to the wit and lyrical beauty of the well-known score.

Henze: Elegie für junge Liebende

Hans Werner Henze’s compositions include ten fine symphonies, various large choral and religious works, fourteen ballets (among them one, Undine, that ranks the greatest of modern times), numerous prominent film scores, and hundreds of additional works for orchestra, chamber ensemble, solo instruments or voice. Yet he considered himself, above all, a composer of opera.

Werther at Manitoba Opera

If opera ultimately is about bel canto, then one need not look any further than Manitoba Opera’s company premiere of Massenet’s Werther, its lushly scored portrait of an artist as a young man that also showcased a particularly strong cast of principal artists. Notably, all were also marking their own role debuts, as well as this production being the first Massenet opera staged by organization in its 44-year history.

Seattle: A seamlessly symphonic L’enfant

Seattle Symphony’s “semi-staged” presentation of L’enfant et les sortilèges was my third encounter with Ravel’s 1925 one-act “opera.” It was incomparably the most theatrical, though the least elaborate by far.

Der Rosenkavalier: Welsh National Opera in Cardiff

Olivia Fuchs' new production of Richard Strauss's Der Rosenkavalier is a co-production between Welsh National Opera and Theater Magdeburg. The production debuted in Magdeburg last year and now Welsh National Opera is presenting the production as part of its Summer season, the company's first Der Rosenkavalier since 1990 (when the cast included Rita Cullis as the Marschallin and Amanda Roocroft making her role debut as Sophie).

Don Giovanni takes to the waves at Investec Opera Holland Park

There’s no reason why Oliver Platt’s imaginative ‘concept’ for this new production of Don Giovanni at Investec Opera Holland Park shouldn’t work very well. Designer Neil Irish has reconstructed a deck of RMS Queen Mary - the Cunard-White Star Line’s flag-ship cruiser during the 1930s, that golden age of trans-Atlantic cruising. Spanning the entire width of the OHP stage, the deck is lined with port-holed cabin doors - perfect hideaways for one of the Don’s hasty romantic dalliances.

"Recreated" Figaro at Garsington delights

After the preceding evening’s presentation of Annilese Miskimmon’s sparkling production of Handel’s Semele - an account of marital infidelity in immortal realms - the second opera of Garsington Opera’s 2017 season brought us down to earth for more mundane disloyalties and deceptions amongst the moneyed aristocracy of the eighteenth-century, as presented by John Cox in his 2005 production of Mozart’s Le nozze di Figaro.

Semele: star-dust and sparkle at Garsington Opera

To open the 2017 season at Garsington Opera, director Annilese Miskimmon and designer Nicky Shaw offer a visually beautifully new production of Handel's Semele in which comic ribaldry and celestial feuding converge and are transfigured into star-dust.

OPERA TODAY ARCHIVES »

Performances

Scene from Les Troyens [Photo by Bill Cooper courtesy of Royal Opera House]
27 Jun 2012

Les Troyens, Royal Opera House London

A sensational Les Troyens at the Royal Opera House, London. Berlioz, who understood theatrical gestures so well, builds his opera around the most audacious dramatic device in ancient history: the Trojan Horse.

Hector Berlioz: Les Troyens

Soldier: Daniel Grice, Cassandre: Anna Caterina Antonacci, Corebe: Fabio Capitanucci, Panthée: Ashley Holland, Hélénus: Ji Hyun Kim, Ascagne: Barabar Senator, Hécube: Pamela Helen Stephenson, King Priam: Robert Lloyd; Plyxéne: Jenna Sloan; Andromaque: Sophia McGregor; Énée: Bryan Hymel; Ghost of Hector: Jihoon Kim; Greek Captain: Lucas Jaconi; Dodon: Eva-Maria Westbroek; Anna: Hanna Hipp; Iopas: Ji-min Park; Narbal: Brindley Sherratt; Hylas: Ed Lyon; Soldiers: Adrian Clarke; Jeremy White. Conductor: Antonio Pappano. Director: David McVicar. Set designer: Es Devlin. Costume designer: Moritz Junge. Lighting: Wolfgang Göbbel. Choreography: Andrew George. Royal Opera House, London, 25th June 2012.

Above: Scene from Les Troyens

Photos by Bill Cooper courtesy of Royal Opera House

 

The population of Troy delights in the spectacle, but then all hell breaks loose and the city is destroyed. David McVicar’s new production is similarly audacious. The orchestra roars full tilt. Even the instrumentation is extravagant — the ophicleide wails like a strange monster. Then the Horse looms into view, moving in a surprisingly realistic way. its eyes shining as if the creature were alive, which adds a poignant twist.

LesTroyens_474-ANTONACCI.gifAnna Caterina Antonacci as Cassandra

The Greeks and Trojans had much in common with the age of Napoleon III. David McVicar and his team (Es Devlin, Moritz Junge, Wolgang Göbbel) brilliantly capture the expansive, extravagant spirit of Berlioz’s time. France at its imperial peak, colonizing Africa and Asia. Paris was being rebuilt on a grand scale. Berlioz wasn’t doing history re-enactment but writing to stun Paris with its audacity. His orchestration isn’t the music of antiquity, but the most advanced and adventurous of its time. Berlioz isn’t doing history re-enactment, and his audiences interpreted Virgil through the filters of Claude and Poussin.

Grecian pottery depicts figures with minimal background: in Berlioz, the background is extreme and densely textured. The principals and secondary parts have to be strongly cast to stand out. Berlioz writes psychological depth in the music rather than in the text, so a strong casting and good direction are of the essence. At The Royal Opera House, the singing and acting was superb, thus expanding the spirit of the roles for maximum dramatic impact.

LesTroyens_583-HYMEL.gifBryan Hymel as Aeneas

Anna Caterina Antonacci created the part of Cassandre with John Eliot Gardiner in Paris in 2003. She’s pitted, alone, against the hysteria in the chorus, and the militaristic violence in the orchestra, but her voice holds its own and soars through with dark intensity. Cassandre and Chorèbe (Fabio Capitanucci) are counterparts to Didon and Énée, but Eva-Maria Westbroek’s Didon and Bryan Hymel’s Enée were more than a match for the sheer passion of their characterization.

Eva-Marie Westbroek sang Cassandre in the Amsterdam Les Troyens in 2011 (Pierre Audi). She’s also a natural for the warm, happy Didon we see in Carthage (the desert city brilliantly depicted in multi dimensions so we get a sense of its teeming activity). This throws her portrayal of Didon’s extreme grief into sharp relief. When Westbroek sings of her anguish, the set is bare but for blue-grey curtain, the staging speaking for her as much as the orchestration. Westbroek’s such a sympathetic Didon, we feel her agony.

Bryan Hymel sang Énée in the Amsterdam production last year, and brings experience to the role. Anyone who bought tickets expecting Jonas Kaufmann would not have been disappointed. If anything, Hymel’s bright lyric tenor suits the part better. In the duet “Nuit d’ivresse et d’extase infinie!” he conveyed such beauty and sensitivity that he fleshed out the action man hero side of Énée, and the role became a real personality. Hymel’s Farewell aria was stunning, and ended with an exuberant flourish that was both heroic and tragic. The audience burst into spontaneous applause for the first time. Some audiences clap at anything, but this audience was far more sophisticated. You don’t do a demanding five-hour opera unless you really care. Hymel is still only 32, and has years of potential ahead.

LesTroyens_246.gifEva-Maria Westbroek as Dido and Hanna Hipp as Anna

Brindley Sherratt’s Nabal was powerful, setting the opera in context. Duty, fate and tragedy, love cannot compete except in death. Also outstanding was Ji-min Park as Iopas, singing the plangently lovely “O Blonde Cérès”. Park is only two years out of the Jette Parker Young Artists Programme but a singer who should go far. Indeed, all the singing and acting was top notch, the entire cast on message, the chorus well blocked and expressive.

Coming from a background in Berlioz songs, I can’t bear the bombast some like in Les Troyens, but Antonio Pappano’s approach is more perceptive. He understand that what makes this opera work is its variety. Berlioz is flashing his virtuosity. The carnage music must be strident, but Berlioz writes music of surprising delicacy, and even humour. Pappano characterized the ballet scenes sensitively. These are important, not mere filler, for they set the context of the opera. Berlioz’s Paris audiences would have liked this exotic orientalism had they heard it, for it fitted their image of themselves as rulers of North Africa and beyond. Wisely, McVicar and his team used the exotic theme in the set, where the “world” (ie the model of Carthage) floats in a magical cosmos of blue, green and red light, illuminated by stars. Perfect union of music, staging and meaning.

This Berlioz Les Troyens is an experience no-one should miss. Alas, performances are sold out solid and you might have to pay way over the odds to get in. Luckily, it’s being filmed and will be in cinemas in November and hopefully out on DVD. it’s a milestone for the Royal Opera House and they’d be mad not to revive it soon. View it live on Mezzo TV on 5th July here and listen to the Proms semi-staging on 22nd July.

Anne Ozorio

LesTroyens_1198.gifScene from Les Troyens

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):