20 Jul 2012
Rossini Il viaggio a Reims, Royal Opera House
The Royal Opera House’s Jette Parker Young Artists programme is celebrating the 10th anniversary of their annual Summer Performance.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no less than seven concerts in this season’s NTR ZaterdagMatinee series feature works by Adams, including this concert version of his first opera, Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the Royal Concertgebouw, Daniele Gatti, came together for their first engagement in a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and Wiener Philharmoniker, to hear these three top orchestra perform their series programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.
One of Aidan Lang’s first initiatives as artistic director of Seattle Opera was to encourage his board to formulate a “mission statement” for the fifty-year old company. The document produced was clear, simple, and anodyne. Seattle Opera would aim above all to create work appealing both to the emotions and reason of the audience.
Contrary to Stolzi’s multidimensional Parsifal, Holten’s simple setting of Lohengrin felt timeless with its focus on the drama between characters. Premiering in 2012, nothing too flashy and with a clever twist,
Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner productions. This Fall, its productions of Philipp Stölzl's Parsifal and Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it comes down to last minute replacements, the casting is topnotch.
Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.
The Royal Opera House’s Jette Parker Young Artists programme is celebrating the 10th anniversary of their annual Summer Performance.
Normally each summer the current young artists give a programme of semi-staged opera scenes. This year the celebrations called for something bigger and a complete performance of Rossini’s Il Viaggio a Reims was given, semi-staged, in the main Covent Garden auditorium.
Rossini’s 1825 opera is very much an occasional work, despite being one of his finest compositions. It was commissioned to celebrate the coronation of Charles X in France and has a plot specific to the occasion, a group a aristocrats coming together to travel to Rheims for Charles’s coronation. Rossini did not intend the piece to have a life beyond the first performances in Paris and about half the music found its way into Le Comte d’Ory. It was premiered at the Theatre Italien with some of the greatest voices of the day and has had a modern life, thanks to the strength of Rossini’s music, since the piece’s reconstruction for the 1984 Pesaro Festival.
It is a very unlikely piece, one which would seem destined for the scrap heap of history; it needs 14 soloists, all strong Rossinians, and has plot of elemental simplicity. But Rossini rose to the challenge and showed a wide degree of skill and humour. He used his full dramatic manner to satirise the storm in a teacup that represents the work’s ‘drama’, and then displayed superb skill with the grand ensemble for the 14 soloists.
Covent Garden last performed the work in 1992, with an all-star cast in an eminently forgettable production. Few companies can afford to mount the work properly, and with its plethora of small but demanding roles would seem ideal for a large young cast. The trouble is that everyone needs to be able to perform Rossini stylishly; there is little room for error. Covent Garden assembled a cast which included all of the current Jette Parker Young Artists with a number of returning ones from previous seasons. The conductor, Daniele Rustioni, was an associate conductor of the scheme a few years ago and the concert staging was by Pedro Ribeiro who is a current young artist.
The Royal Opera Orchestra was given a night off and the ENO Orchestra played. The orchestra were placed on stage in a wood panelled acoustic shell which ensured that the sound quality in the auditorium was optimum. The singers were placed in a row in front of the orchestra, they used music and music stands but many were just about off the book and none sang with eyes glued to copy. The result was surprisingly successful and dramatically involving. All sang Rossini’s fioriture creditably, there was no embarrassing flailing about or flabby wobbling round runs. Granted a couple of the bigger voices tended to smudge their runs, but there were few real Rossini specialists here. For example, Corinna was played by Marina Poplavskaya (2005-2007 young artist) who is moving into heavier roles; she has an Elisabeth (Tannhauser) planned.
What also impressed was the discovery that a number of the returning singers, who I had only ever seen in serious roles, had a strong flair for comedy, notably Poplavskaya, Jacques Imbrailo (2006-2008 young aristst) who played Trombonk, Ailish Tynan (2002-2004 young artist) who played Madam Cortese and Matthew Rose (2003-2005) who played Lord Sidney.
Madeleine Pierard (a current Young Artist), as La Contessa di Folleville, got one of the work’s best known numbers, the countess’s large scale tragic aria bewailing the loss of her hats. Pierard did Rossini the compliment of taking the piece entirely seriously, which made it all the more hilarious as Pierard’s stylish roulades cascaded out. Rossini used his grand tragic manner in this aria. Pierard has a big dramatic voice and used it brilliantly. There were moments of harshness at the top, and her fioriture would not stand scrutiny in the recording studio, but she brought style and vibrancy to the piece.
Tynan was on superb form, clearly enjoying herself and making a lovely contribution to all the ensembles, her opening solo displayed some of the finest singing of the evening and a lovely trill. As Madama Cortese (the owner of the inn) laments her inability to get travel to Rheims, Rossini again sends up the genre with an over-elaborate aria which Tynan relished.
Imbrailo did not really get a major solo moment but as the German character he was rather ubiquitous as he seemed to be organising everything. Imbrailo did so with beautiful tone and a wry sense of amusement.
Poplavskaya looked suitably dramatic as the poetess given to rhapsodising. When participating in the main opera, especially in her long scene with Belfiore (Edgaras Montvidas, 2001-2003 Young Artist), she was in fine form. In the two rhapsodies, sung from the rear of the stage with just harp accompaniment, she seemed to be attempting to thin her voice down further than it really wanted to go so that there was some unwanted strain, which was a shame.
Montvidas seemed to be in his element as the rather greasy cavalier, his performance just nicely overdone with a fabulous duet with Poplavskaya. Rose’s Lord Sidney was also in love with Corinna and this gave Rose his long solo moment, full of compressed pomposity and repressed emotion, accompanied by a superb flute solo.
The first half concluded with Don Profondo’s catalogue arias. Lukas Jakobski (2009-2011 Young Artist) gave this a fine comic turn and proved remarkably adept at Rossini’s patter song. Later in the opera he showed himself not averse to using his height for comic purposes when he sang a duet with Tynan.
By this point, Rossini had essentially introduced all the characters. Nearly all had been given a significant display moment, in aria or duet. The interval was placed after Don Profondo’s aria (which is in fact scene 3 of Act 2). This meant that the second half opened with Rossini’s master-stroke. The one major piece of drama in the piece, the lack of horses to take the party to Rheims, brings as a response the gran pezzo concertato a classic Rossinian ensemble, but written for 14 soloists.
There followed one final duet, for the Marquise, Kai Rüütel (2009-2011 Young Artist) and Libenskof, Jin-Hyun Kim (current Young A|rtist). Rüütel has an attractively warm mezzo-soprano voice which she used intelligently and with great charm, though I don’t think that she is a natural Rossini singer. Kim displayed his fine lyric tenor with superb fluency in the fioriture and an ability to take his voice up high with apparent ease. Kim should certainly be an asset in this repertoire.
For the finale, each of the aristocrats sings a National song, which gives Rossini a chance to have fun at other people’s expense. The cast enjoyed themselves and this helped enormously in what is, I think the weakest part of the opera. I worked out that in a large international cast, only Matthew Rose (as Englishman Lord Sidney) was playing his own nationality.
The smaller roles were all well taken. Justina Gringyte (current Young Artist) was a strong Maddalena who impressed enormously in the opening ensemble, Daniel Grice (current Young Artist) was a characterful Antonio, Hanna Hipp (current Young Artist) showed a talent for expressive face pulling as the countess’s maid and Jihoon Kim (current Young Artist) was nicely pretentious with orotund voice as Don Prudenzio
Conductor Daniele Rustioni was extremely hard working. Not only is he a very active conductor, but he was assiduous in cueing singers and ensuring that the complex ensembles stayed on track. He gave the work a lively and infectious bounce and paced it nicely. In the ensembles and the gran pezzo concertato he ensure that not only did things stay on track, but that the music never sagged, ensuring forward momentum without ever seeming driven. This was a brilliant vibrant performance with surprisingly crisp edges. His podium was effectively part of the acting aria and he participated in the action as well.
Jean-Paul Pruna (current Young Artist) played the forte-piano continuo. He was also on stage, but the instrument seemed slightly under powered for my taste, though Pruna’s playing was discreet and effective.
The ENO Orchestra were on good form, giving us some superb solo playing, fine accompaniment, crisp lively playing with fine details. From the opening notes there was something infectious about their performance, perhaps they enjoyed the unfamiliar repertoire or just being in the spot-light on-stage for once, but the players seemed to enjoy themselves as much as the singers and it showed in their playing.
The standard of Rossinian singing was creditably high, particularly from non-specialist singers. All the young voices sang the Rossini with a degree of style, conveyed the humour with the music showing their enjoyment. Aided by Rustioni’s conducting and Ribeiro’s discreetly effective staging this was a sparkling evening in the theatre