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.
Opera San Jose has capped a wholly winning season with an emotionally engaging, thrillingly sung, enticingly fresh rendition of Puccini’s immortal masterpiece La bohème.
On Saturday evening April 22, 2017, San Diego Opera presented Giuseppe Verdi’s La traviata at the Civic Theater. Director Marta Domingo updated the production from the constrictions of the nineteenth century to the freedom of the nineteen twenties. Violetta’s fellow courtesans and their dates wore fascinating outfits and, at one point, danced the Charleston to what looked like a jazz combo playing Verdi’s score.
Thomas Adès’s third opera, The Exterminating Angel, is a dizzying, sometimes frightening, palimpsest of texts (literary and cinematic) and music, in which ceaseless repetitions of the past - inexact, ever varying, but inescapably compulsive - stultify the present and deny progress into the future. Paradoxically, there is endless movement within a constricting stasis. The essential elements collide in a surreal Sartrean dystopia: beasts of the earth (live sheep and a simulacra of a bear) roam, a disembodied hand floats through the air, water spouts from the floor and a burning cello provides the flames upon which to roast the sacrificial lambs. No wonder that when the elderly Doctor tries to restore order through scientific rationalism he is told, “We don't want reason! We want to get out of here!”
Is A Dog’s Heart even an opera? It is sung by opera singers to live music. Alexander Raskatov’s score, however, is secondary to the incredible stage visuals. Whatever it is, actor/director Simon McBurney’s first stab at opera is fantastic theatre. Its revival at Dutch National Opera, where it premiered in 2010, is hugely welcome.
In May 2016, Opera Rara gave Bellini aficionados a treat when they gave a concert performance of Vincenzo Bellini’s first opera, Adelson e Salvini, at the Barbican Hall. The preceding week had been spent in the BBC’s Maida Vale Studios, and this recording, released last month, is a very welcome addition to Opera Rara’s bel canto catalogue.
Jonas Kaufmann Mahler Das Lied von der Erde is utterly unique but also works surprisingly well as a musical experience. This won't appeal to superficial listeners, but will reward those who take Mahler seriously enough to value the challenge of new perspectives.
Following Garsington Opera for All’s successful second year of free public screenings on beaches, river banks and parks in isolated coastal and rural communities, Handel’s sparkling masterpiece Semele will be screened in four areas across the UK in 2017. Free events are programmed for Skegness (1 July), Ramsgate (22 July), Bridgwater (29 July) and Grimsby (11 October).
I kept hearing from knowledgeable opera fanatics that the Israeli Opera (IO) in Tel Aviv was a surprising sure bet. So I made my way to the Homeland to hear how supposedly great the quality of opera was. And man, I was in for treat.
At Phoenix’s Symphony Hall on Friday evening April 7, Arizona Opera offered its final presentation of the 2016-2017 season, Gioachino Rossini’s Cinderella (La Cenerentola). The stars of the show were Daniela Mack as Cinderella, called Angelina in the opera, and Alek Shrader as Don Ramiro. Actually, Mack and Shrader are married couple who met singing these same roles at San Francisco Opera.
On Saturday evening April 1, 2017, Placido Domingo and Los Angeles Opera celebrated their tenth year of training young opera artists in the Domingo-Colburn-Stein Program. From the singing I heard, they definitely have something of which to be proud.
The Festspielhaus in Baden-Baden pretty much programs only big stars. A prime example was the Fall Festival this season. Grigory Sokolov opened with a piano recital, which I did not attend. I came for Cecilia Bartoli in Bellini’s Norma and Christian Gerhaher with Schubert’s Die Winterreise, and Anne-Sophie Mutter breathtakingly delivering Mendelssohn’s Violin Concerto together with the London Philharmonic Orchestra. Robin Ticciati, the ballerino conductor, is not my favorite, but together they certainly impressed in Mendelssohn.
Mahler as dramatist! Mahler Symphony no 8 with Vladimir Jurowski and the London Philharmonic Orchestra at the Royal Festival Hall. Now we know why Mahler didn't write opera. His music is inherently theatrical, and his dramas lie not in narrative but in internal metaphysics. The Royal Festival Hall itself played a role, literally, since the singers moved round the performance space, making the music feel particularly fluid and dynamic. This was no ordinary concert.
Imagine a fête galante by Jean-Antoine Watteau brought to life, its colour and movement infusing a bucolic scene with charm and theatricality. Jean-Philippe Rameau’s opéra-ballet Les fêtes d'Hébé, ou Les talens lyriques, is one such amorous pastoral allegory, its three entrées populated by shepherds and sylvans, real characters such as Sapho and mythological gods such as Mercury.
Details of the Royal Opera House's 2017/18 Season have been announced. Oliver Mears, who will begin his tenure as Director of Opera, comments: “I am delighted to introduce my first Season as Director of Opera for The Royal Opera House. As I begin this role, and as the world continues to reel from social and political tumult, it is reassuring to contemplate the talent and traditions that underpin this great building’s history. For centuries, a theatre on this site has welcomed all classes - even in times of revolution and war - to enjoy the most extraordinary combination of music and drama ever devised. Since the time of Handel, Covent Garden has been home to the most outstanding performers, composers and artists of every era. And for centuries, the joyous and often tragic art form of opera has offered a means by which we can be transported to another world, in all its wonderful excess and beauty.”
Whatever one’s own religious or spiritual beliefs, Bach’s St Matthew Passion is one of the most, perhaps the most, affecting depictions of the torturous final episodes of Jesus Christ’s mortal life on earth: simultaneously harrowing and beautiful, juxtaposing tender stillness with tragic urgency.
Lindy Hume’s sensational La bohème at the Berliner Staatsoper brings out the moxie in Puccini. Abdellah Lasri emerged as a stunning discovery. He floored me with his tenor voice through which he embodied a perfect Rodolfo.
Listening to Moritz Eggert’s Caliban is the equivalent of watching a flea-ridden dog chasing its own tail for one-and-half hours. It scratches, twitches and yelps. Occasionally, it blinks pleadingly, but you can’t bring yourself to care for such a foolish animal and its less-than-tragic plight.
A large audience packed into the Wigmore Hall to hear the two Baroque rarities featured in this melodious performance by Christian Curnyn’s Early Opera Company. One was by the most distinguished ‘home-grown’ eighteenth-century musician, whose music - excepting some of the lively symphonies - remains seldom performed. The other was the work of a Saxon who - despite a few ups and downs in his relationship with the ‘natives’ - made London his home for forty-five years and invented that so English of genres, the dramatic oratorio.
A new recording, made late last year, Morfydd Owen : Portrait of a Lost Icon, from Tŷ Cerdd, specialists in Welsh music, reveals Owen as one of the more distinctive voices in British music of her era : a grand claim but not without foundation. To this day, Owen's tally of prizes awarded by the Royal Academy of Music remains unrivalled.
On March 24, 2017, Los Angeles Opera revived its co-production of Jacques Offenbach’s The Tales of Hoffmann which has also been seen at the Mariinsky Opera in Leningrad and the Washington National Opera in the District of Columbia.
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