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

Nico Muhly's Marnie at ENO

Winston Graham’s 1961 novel Marnie was bold for its time. Its themes of sexual repression, psychological suspense and criminality set within the dark social fabric of contemporary Britain are but outlier themes of the anti-heroine’s own narrative of deceit, guilt, multiple identities and blackmail.

TOSCA: A Dramatic Sing-Fest

On November 12, 2017, Arizona Opera presented Giacomo Puccini’s verismo opera, Tosca, in a dramatic production directed by Tara Faircloth. Her production utilized realistic scenery from Seattle Opera and detailed costumes from the New York City Opera. Gregory Allen Hirsch’s lighting made the set look like the church of St. Andrea as some of us may have remembered it from time gone by.

The Lighthouse: Shadwell Opera at Hackney Showroom

‘Only make the reader’s general vision of evil intense enough … and his own experience, his own imagination, his own sympathy … and horror … will supply him quite sufficiently with all the particulars. Make him think the evil, make him think it for himself, and you are released from weak specifications.’

Elisabeth Kulman sings Mahler's Rückert-Lieder with Sir Mark Elder and the Britten Sinfonia

Austrian singer Elisabeth Kulman has had an interesting career trajectory. She began her singing life as a soprano but later shifted to mezzo-soprano/contralto territory. Esteemed on the operatic stage, she relinquished the theatre for the concert platform in 2015, following an accident while rehearsing Tristan.

Tremendous revival of Katie Mitchell's Lucia at the ROH

The morning sickness, miscarriage and maundering wraiths are still present, but Katie Mitchell’s Lucia di Lammermoor, receiving its first revival at the ROH, seems less ‘hysterical’ this time round - and all the more harrowing for it.

Manon in San Francisco

Nothing but a wall and a floor (and an enormous battery of unseen lighting instruments) and two perfectly matched artists, the Manon of soprano Ellie Dehn and the des Grieux of tenor Michael Fabiano, the centerpiece of Paris’ operatic Belle Époque found vibrant presence on the War Memorial stage.

A beguiling Il barbiere di Siviglia from GTO

I had mixed feelings about Annabel Arden’s production of Il barbiere di Siviglia when it was first seen at Glyndebourne in 2016. Now reprised (revival director, Sinéad O’Neill) for the autumn 2017 tour, the designs remain a vibrant mosaic of rich hues and Moorish motifs, the supernumeraries - commedia stereotypes cum comic interlopers - infiltrate and interact even more piquantly, and the harpsichords are still flying in, unfathomably, from all angles. But, the drama is a little less hyperactive, the characterisation less larger-than-life. And, this Saturday evening performance went down a treat with the Canterbury crowd on the final night of GTO’s brief residency at the Marlowe Theatre.

Brett Dean's Hamlet: GTO in Canterbury

‘There is no such thing as Hamlet,’ says Matthew Jocelyn in an interview printed in the 2017 Glyndebourne programme book. The librettist of Australian composer Brett Dean’s opera based on the Bard’s most oft-performed tragedy, which was premiered to acclaim in June this year, was noting the variants between the extant sources for the play - the First, or ‘Bad’, Quarto of 1603, which contains just over half of the text of the Second Quarto which published the following year, and the First Folio of 1623 - no one of which can reliably be guaranteed superiority over the other.

WNO's Russian Revolution series: the grim repetitions of the house of the dead

‘We lived in a heap together in one barrack. The flooring was rotten and an inch deep in filth, so that we slipped and fell. When wood was put into the stove no heat came out, only a terrible smell that lasted through the winter.’ So wrote Dostoevsky, in a letter to his brother, about his experiences in the Siberian prison camp at Omsk where he was incarcerated between 1850-54, because of his association with a group of political dissidents who had tried to assassinate the Tsar. Dostoevsky’s ‘house of the dead’ is harrowingly reproduced by Maria Björsen’s set - a dark, Dantesque pit from which there is no possibility of escape - for David Pountney’s 1982 production of Janáček’s final opera, here revived as part of Welsh National Opera’s Russian Revolution series.

The 2017 Glyndebourne Tour arrives in Canterbury with a satisfying Così fan tutte

A Così fan tutte set in the 18th century, in Naples, beside the sea: what, no meddling with Mozart? Whatever next! First seen in 2006, and now on its final run before ‘retirement’, Nicholas Hytner’s straightforward account (revived by Bruno Ravella) of Mozart’s part-playful, part-piquant tale of amorous entanglements was a refreshing opener at the Marlowe Theatre in Canterbury where Glyndebourne Festival Opera arrived this week for the first sojourn of the 2017 tour.

Richard Jones's Rodelinda returns to ENO

Shameless grabs for power; vicious, self-destructive dynastic in-fighting; a self-righteous and unwavering sense of entitlement; bruised egos and integrity jettisoned. One might be forgiven for thinking that it was the current Tory government that was being described. However, we are not in twenty-first-century Westminster, but rather in seventh-century Lombardy, the setting for Handel’s 1725 opera, Rodelinda, Richard Jones’s 2014 production of which is currently being revived at English National Opera.

Amusing Old Movie Becomes Engrossing New Opera

Director Mario Bava’s motion picture, Hercules in the Haunted World, was released in Italy in November 1961, and in the United States in April 1964. In 2010 composer Patrick Morganelli wrote a chamber opera entitled Hercules vs. Vampires for Opera Theater Oregon.

Rigoletto at Lyric Opera of Chicago

If a credible portrayal of the title character in Giuseppe Verdi’s Rigoletto is vital to any performance, the success of Lyric Opera of Chicago’s current, exciting production hinges very much on the memorable court jester and father sung by baritone Quinn Kelsey.

Wexford Festival Opera 2017

‘What’s the delay? A little wind and rain are nothing to worry about!’ The villagers’ indifference to the inclement weather which occurs mid-way through Jacopo Foroni’s opera Margherita - as the townsfolk set off in pursuit of two mystery assailants seen attacking a man in the forest - acquired an unintentionally ironic slant in Wexford Opera House on the opening night of Michael Sturm’s production, raising a wry chuckle from the audience.

The Genius of Purcell: Carolyn Sampson and The King's Consort at the Wigmore Hall

This celebration of The Genius of Purcell by Carolyn Sampson and The King’s Consort at the Wigmore Hall was music-making of the most absorbing and invigorating kind: unmannered, direct and refreshing.

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.

OPERA TODAY ARCHIVES »

Performances

Bela Bartok in bronze sculpture by Hungarian Andras Beck
05 Jun 2012

Bluebeard’s Castle, New World Symphony

“I can guess what you are hiding.
Bloodstain on your warrior’s weapons.
Blood upon your crown of glory.
Red the soil around your flowers.
Red the shade your cloud was throwing.
Now I know it all, oh, Bluebeard.”

Béla Bartók: Bluebeard’s Castle; Quartet No. 6 for Strings, BB 119 (1939)

Judith: Michelle DeYoung; Duke Bluebeard: Eric Halfvarson. New World Symphony. Nick Hillel, director. Jeannette Jang and Vivek Jayaraman, violin; Anthony Parce, viola; David Meyer, cello. Michael Tilson Thomas, conductor.

Above: Bela Bartok in bronze sculpture by Hungarian Andras Beck

 

Judith’s soliloquy builds up to be both a précis of Bela Bartok’s opera and the anticipating tableaux announcing entrance to the seventh and final door to Bluebeard’s Castle. What awaits on the other side?

Librettist Bela Balazs described the words he wrote over Bartok’s music as “the ballad of inner life” and the castle as Bluebeard’s soul. Neither Bartok nor Balazs fail to intrigue — on the other side of that final door, a secret, a mystery. The opera leaves the audience wondering what just happened.

Such is life.

Balazs’ look at the Bluebeard legend is open to greater analysis than the essay of its origins, from a series of fairy tales written by Charles Perrault. Perrault’s creation has facial hair that literally comes out blue. The staying power of children’s stories seems to be bound to this very interpretive unobtrusiveness, for kids to dance in and for adults to play with cloaked meanings.

Today’s reader might be startled by the period-typical gore and terror of Perrault’s Bluebeard, the type whose pages could be torn from a Stephen King novel. Perrault’s story of an old curmudgeon Duke drips blood — corpses hang from hooks, decapitation is considered, murder lurks behind every castle door. This can read as quite monstrous, writing geared for little eyes and ears as it is. Balazs’ version leaves more to the imagination — definitely more Hitchcockian.

Bartok’s Bluebeard tills fertile creative ground for all involved in its production. At its “new laboratory” in Miami Beach, New World Symphony’s performance (on April 27th) took firm root in the theme of gender roles and how men and women come at love. The producers also played with the seedlings of mystery that permeate the work.

American bass Eric Halfvarson took Balazs’ “joyless” Bluebeard to a place male personified, instrumental in communication style, proud (Perrault describes him as with “a heart harder than any stone”) in temperament, with time on his side. Halfvarson reached all of these angles — in the way he turned away from Judith with up-turned nose (credit also to director Nick Hillel), in calling on the force of his voice to surge with the orchestra at the precipice to door five, and in the directness of the bass’ delivery, communicating in crumbs as Bluebeard does.

Halfvarson’s Bluebeard flexes his kingdom and might; he broods, avoiding memories that wound his spirit and using stonewalling artfully — the bass’ pleas for Judith to “stop asking questions” were teasingly unconvincing. Halfvarson turned lines like ”stop asking questions” and “stones of sorrow thrill with rapture” into gender-line crossing come-hither taunts. The bass made other moments with Judith intimate. Halfvarson highlighted Bluebeard’s own questioning and searching.

Michigander Mezzo Michelle DeYoung, of the potent middle register required for this music — a quality that has won DeYoung some of the heaviest assignments in classical vocal music — lent more than a hint of despair to a Judith that Balazs wrote to be hopeful and inquisitive, the “tend and befriend” careful nurturer. DeYoung capably expressed Judith’s determination to bring warmth and light to Bluebeard’s world, left out as she feels from it.

DeYoung projected an air of wonderment, a tense-filled moment, in telling of the vastness of Bluebeard’s kingdom. Judith wants Bluebeard’s castle rooms “unfastened” and flown open. Bluebeard’s castle trembles at the prospect. Judith reassures with “I’ll never leave you,” read tenderly by DeYoung.

At the threshold to that final door, Judith intuits that the light (from which she must shield her eyes at one point), the color, the signs of richness in Bluebeard’s castle point to a woman, or women: “tell me whom you loved before me.” DeYoung worked a fine characterization as Judith, a soul also searching.

Both Halfvarson and DeYoung communicated their respective characters’ search for meaning. Bluebeard does this through acquisitions, fortifying his castle. Judith does this by looking into Bluebeard, the rooms in his castle. “Give me another key,” Judith begs. Balazs seems to take the audience to the possible conclusion that meaning in life is found by living it. Expect no answers. Balazs takes the audience through the natural course of a human problem: searching in mystery.

This production, in its U.S. premiere, played very close to that heart, utilizing the New World Symphony’s new space and its multiple-angled walls to project (slides from Rite Digital in association with Yeast Culture) a mix of images calling on elements of the castle: water droplets, gears, spikes and sprockets, pin-needles poking through cloth, assembly-line munitions, shadows of Bluebeard’s wives dancing and posing, and lathery crimson in droves — drips and splashes.

Video dragomen Hillel, Nick Corrigan (co-director and VJ) and Richard Slaney (producer) kept things mysterious down to other details — DeYoung and Halfvarson, on the upper deck over the orchestra stage and just under the main wall slides, wore concert black — her in gown, him in evil-genius outfit and cape. The role of narrator, a mysterious sort in its own right that opens the opera and then vanishes, was read — in sight but from the wings — with leathery and seasoned voice by actor/photographer George Schiavone. Schiavone was also in informal black.

These types of subtleties worked into Balazs’ text and with Bartok’s music. Micheal Tilson Thomas’ movements were more measured at the stick, even for the huge and spacious sound — making it feel like the room was getting smaller — created by the orchestra at full throttle at castle door five. MTT trembled along with the castle.

The playing of NWS was of its usual fire and some flair; if not as successful with the mystery of Bartok’s writing (through the second door, in music reminiscent of Turandot’s riddle scene, the overall musical space tended towards stiff) instrumentalists kept the musical line tight enough to carry interest through musical transitions and to assert the Hungarian composer’s genius. The playing also failed to capture the folksiness, the Hungarian gypsy colors of this work. Instrumentalists did better with the bi-tonal and technical aspects in Bluebeard, as well as in supporting the distinctiveness of the “blood motive.”

A lot of 20th century music gets flack for excesses blamed on composers jumping on the bandwagon of atonality. Bartok’s only opera does less to connect him to this movement than do many of his other works. His Quartet No. 6 for Strings firmly places Bartok in this period while also putting him in a class apart altogether. The dissonance is there; the irregular beats, entrances, and changes are there; in this music, there is at center a strong sense of the elegiac, the pastoral, as well.

In a nice marrying of works, the quartet preceded the opera in concert. The work of the young players was on the mark if missing elegance at times. Violinist Jeanette Jang summoned power when necessary and held a disciplined and steady finishing note to the first movement. The stridency of movement two, requiring sharp cuts at bows but easier in terms of unison playing, was a good showing. The third movement, with its faint and curious echoing of the Psycho theme and Rhapsody in Blue, held up well. For the final movement, the NWS quartet (Vivek Jayaraman at violin, Anthony Parce at viola, and David Meyer at cello) assembled here handled the volume shifts — in a section that holds no little mystery to it.

What of the mystery of Duke Bluebeard and the “whispered rumors” that ruminate throughout his castle? What is behind that door? Who are the narrator, the Duke, Judith, and orchestra and MTT? What is the music? What just happened? What is the meaning of all this?

Such is life.

Robert Carreras

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):