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

La Rondine Takes Flight in San Jose

Kudos to San Jose Opera for offering up a wholly winning, consistently captivating new production of Puccini’s seldom performed La Rondine.

Clonter Opera Gala

Clonter’s Opera Gala in the breath-taking beautiful ball-room at the Lansdowne Club in Mayfair was a glamorously glittering smattering of opera – which made me want to run out to every opera in town.  

A New Die Walküre at Lyric Opera of Chicago

From the start of Lyric Opera of Chicago’s splendid, new production of Richard Wagner’s Die Walküre conflict and resolution are portrayed throughout with moving intensity. The central character Brünnhilde is sung by Christine Goerke and her father Wotan by Eric Owens.

As One a Haunting Success in San Diego

San Diego Opera has mined solid gold with its mesmerizing and affecting production of As One, a part of their innovative ‘Detour Series.’

OLF: Songs by Tchaikovsky, Anton Rubinstein, Rachmaninov and Georgy Sviridov

Compared to the oft-explored world of German lieder and French chansons, the songs of Russia are unfairly neglected in recordings and in the concert hall. The raw emotion and expansive lyricism present in much of this repertoire was clearly in evidence at the Holywell Music Room for the penultimate day of the celebrated Oxford Lieder Festival.

Stockhausen’s STIMMUNG and COSMIC PULSES at the Barbican.

This concert was an event on several levels - marking a decade since the death of Stockhausen, the fortieth anniversary (almost to the day) since Singcircle first performed STIMMUNG (at the Round House), and their final public performance of the piece. It was also a rare opportunity to hear (and see) Stockhausen’s last completed purely electronic work, COSMIC PULSES - an overwhelming visual and aural experience that anyone who was at this concert will long remember.

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.

OPERA TODAY ARCHIVES »

Performances

Gaius Caesar Caligula [Source: Wikipedia]
04 Jun 2012

Detlev Glanert’s Caligula, ENO

Detlev Glanert’s Caligula at the ENO shows how powerful modern opera can be. Caligula was a tyrant, but this opera isn’t sensationalist.

Detlev Glanert: Caligula

Caligula: Peter Coleman-Wright; Caesonia: Yvonne Hioward; Helicon: Christopher Ainslie; Cherea: Pavlo Hunka; Scipio: Carolyn Dobin; Mucius: Brian Galliford; Mereia/Lepidus: Eddie Wade; Livia: Julia Sposen; Poets: Greg Winter; Philip Daggett; Gary Coward; Geraint Hylton; Drusilla: Zoe Hunn. Conductor: Ryan Wigglesworth. Director: Benedict Andrews. Set Designer: Ralph Myers. Costumes: Alice Babidge. Lighting: Jon Clark. English National Opera.The Coliseum; London, 25th May 2012.

Above: Gaius Caesar Caligula [Source: Wikipedia]

 

Based on the play by Albert Camus, it’s a study of human emotion in extreme situations, expressed in vividly dramatic music.

The opera starts and ends with a scream”, says director Benedict Andrews. It’s primal. This phase in Caligula’s madness is set off by the death of his sister Drusilla, allegedy murdered because she became pregnant by him. It ends with Caligula being killed. Suddenly he shouts “I’m still alive!”. The cycle doesn’t end. Caligula’s madness is universal psychosis.

Camus was writing when Hitler and Stalin were in power. Glanert, despite his jovial personality, doesn’t shirk from the political implications. Indeed, while he was working on this opera, he had Dimitri Shostakovich in mind. Shotsakovich was a dissident who had to compromise toi survive a totalitarian regime. Caligula is mad, and everyone knows it but he has absolute power. His inner circle feed his delusion, but he’s sane enough on some level to despise them for their hypocrisy. Ralph Myers’s set is uncompromising. The audience is confronted by a wall of seats, not unlike a theatre. Perhaps it’s an arena where gladiators kill each other to entertain onlookers. Are the populace any less bloodthirsty than their Emperors? There but for fortune. Caligula looks at himself in the mirror of the moon, which refracts blinding light back at the audience. We can’t not get involved. We’re in the Coliseum, after all! Madmen become tyrants when ordinary people don’t take responsibilty. Incidentally, modern tyrants have used football stadiums to imprison people and do massacres, so the image is even more poignant.

In the middle of this arena there’s a tunnel, a discreet reminder of Caligula’s psycho-sexual confusion. Despite his madness, he’s trying to make sense of his situation. “Loneliness! Loneliness!” he wails, though he knows he can’t escape the ghosts of those he’s killed. What motivates his excesses? He’s compelled to outrage every sensibility. Yet that traps him in a vicious cycle, too. Are his provocations a kind of death wish, to goad his public until they crack?

Glanert’s music builds Caligula’s complex personality. An electronic organ rips through the more refined instruments in the orchestra. Maniacal crescendi, more meticulously orchestrated than their impact might suggest. Ryan Wigglewswoth conducts with the precison this music needs. Like Caligula, all is not in the roar. Caligula’s mind works logically, though his ratiionale is flawed. Some of this music is very beautiful. Caligula knows thw world around him is ugly, which is perhaps why he idolizes the moon. Tender woodwinds make his fantasy as alluring as he thinks it is. But Caligula can’t sustain a line of thought for long. His extreme, unpredictable mood swings are mirrored in the music. The parody burlesque and the silly songs the poets sing add wry humour. If we aren’t humane, even to madmen, we lose the very humanity that stops us becoming tyrants. Gaiety throws grotesque into high relief. When we’re at the heart of the beast, Glanert’s textures are clear. Yet scratching, thudding beats in the percussion build up pressure, and the quiet heart will again explode.

Caligula is a difficult role to sing and Peter Coleman-Weight succeeds well though he doesn’t quite get the craziness that’s in the part. The falsetto screech, for example, could be chillingly dangerous, for it touches a raw nerve in Caligula’s soul. Coleman-Wright is admirable, but he’s too much of the Elder Statesman to express Caligula’s deranged toddler tantrum disintegration. In history, Caesonia was old enough to be Caligula’s mother, and iwho indulged him in his madness. The exchange between Coleman-Wright and Yvonne Howard’s Caesonia could have been much more sinister, though perhaps that might be too unsettling for British audiences. For this same reason, it was probably best that performances all round were good, rather than especially sharp and distinctive. Chritsopher Ainslie sang well, but the part of Helicon wasn’t developed fully. Helicon (a counter tenor to Caligula’s baritone) is a mirror image of his master, and the exchange betweeen them can be more focussed. Pavlo Hunka impressed as Cherea the procurator, as did Carolyn Dobbin’s Scipio and Brian Galliford’s Mucius, and the irrrepressible Eddie Wade filled his two parts well.

But the very fact that Glanert’s Caligula is in London at all is a cause for celebratiuon. British audiences are sadly cut off from continental European music and opera in particular. Caligula is a much more sophisticated opera than Wolfgang Rihm’s Jakob Lenz heard earlier this season, though Rihm wrote that aged only 24. Caligula doesn’t have to be prettied up for British audiences. And much oif the sharpness in the opera is dimmed as a result. This ENO Caligula is much better visually than the production in Frankfurt that keeps getting revived. Benedict Andrews’s clear, unfussy style concentrates on the inherent drama. In Germany, this would be a hit. Glanert’s music is certainly not intimidating. After all, he’s guided by what Hans Werner Henze told him when they first met, that opera should communicate.

Glanert’s music has featured at the Proms eight times, but I can’t remember seeing any of his many operas in this country. Even the operas of Hans Werner Henze are rarities here, though they’re often performed on the Continent. Henze is such an important composer that it’s shocking how little Henze we get here. How can we assess the genre if we don’t hear enough to judge? So Glanert’s Caligula at the ENO is an excellent starting point.

Anne Ozorio

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):