02 Jul 2012
The Marriage of Figaro in Montpellier
Perfection. A seldom used term in critiques of opera performances. There it was, almost (and will be, maybe).
Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.
An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.
On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.
Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.
On Friday February 20, 2015, San Diego Opera presented Mozart’s Don Giovanni in a production by Nicholas Muni originally seen at Cincinnati Opera.
In a production first seen in Houston several years ago, and now revised by its director John Caird, Puccini’s Tosca has returned to Lyric Opera of Chicago with two casts, partially different, scheduled into March of the present season.
Henri Dutilleux’s music has its devotees. I am yet to join their ranks, but had no reason to think this was not an admirable performance of his song-cycle Correspondances.
In 1980, the Metropolitan Opera commissioned composer John Corigliano to write an opera celebrating the company’s one-hundredth anniversary. It was to be ready in 1983.
English National Opera’s revival of Peter Konwitschny’s production of Verdi’s La Traviata had many elements in common with the production’s original outing in 2013 (The production was a co-production with Opera Graz, where it had debuted in 2011).
You might believe you could go to an opera and take in what you see at face value. But if you did that just now in Lyon you would have had no idea what was going on.
I wonder whether we need a new way of thinking — and talking — about operatic ‘revivals’. Perhaps the term is more meaningful when it comes to works that have been dead and buried for years, before being rediscovered by subsequent generations.
Hopefully this brilliant new production of Iphigénie en Tauride from the Grand Théâtre de Genève will find its way to the new world now that Gluck’s masterpiece has been introduced to American audiences.
Tristan first appeared on the stage of the Théâtre du Capitole in 1928, sung in French, the same language that served its 1942 production even with Wehrmacht tanks parked in front of the opera house.
Arizona Opera presented Eugene Onegin during and 1999-2000 season and again on February 1 of this year as part of the 2014-2015 season. In this country Onegin is not a crowd pleaser like La Bohème or Carmen, but its story is believable and its music melodic and memorable. Just hum the beginning of the “Polonaise” and your friends will know the music, if not where it comes from.
Florian Boesch and Roger Vignoles at the Wigmore Hall in Ernst Krenek’s Reisebuch aus den österreichischen Alpen. Matthias Goerne has called Hanns Eisler’s Hollywooder Liederbuch the Winterreise of the 20th century. Boesch and Vignoles showed how Krenek’s Reisebuch is a journey of discovery into identity at an era of extreme social change. It is a parable, indeed, of modern times.
Lyric Opera of Chicago’s new Anna Bolena, a production shared with Minnesota Opera, features a distinguished cast including several notable premieres.
On Tuesday January 27, 2015, San Diego Opera presented Giacomo Puccini's La Boheme. It is the opera with which the company opened in 1965 and a work that the company has faithfully performed every five years since then.
Last year we tracked Orfeo on his desperate search for his lost Euridice, through the labyrinths and studio spaces of Central St Martin’s; this year we were plunged into Macbeth’s tragic pursuit of power in the bare blackness of the CSM’s Platform Theatre.
Béla Bartók’s only opera, Duke Bluebeard’s Castle, composed in 1911 and based upon a libretto by the Hungarian writer Béla Balázs, was not initially a success.
Káťa Kabanová is, they say, Janáček's first mature opera — it comes a mere 20 years after his masterpiece, Jenůfa.
Perfection. A seldom used term in critiques of opera performances. There it was, almost (and will be, maybe).
Haute couture designer Jean Paul Gaultier created costumes for Mozart’s masterpiece in this new production of Le Nozze di Figaro at the Opéra National de Montpellier with set design and stage direction by Jean-Paul Scarpita. The most theatrical among haute couture stars Gaultier is uniquely suited to Mozart comedy, sharing with the venerated composer both sharp wit and a preoccupation and fascination for women.
Gaultier had a particular fascination for his grandmother’s underclothes, structural corsets above all, and this preoccupation with structure permeates his oeuvre (currently on exposition at the De Young Museum in San Francisco, through August 19). In Montpellier he literally exposed the understructure of late 18th century couture in visible linear sculptures that resonated wittily with Mozartian musical structures.
Like all haute couture that of Gaultier is elegant and luxurious. In Montpellier (France’s most elegant city) Mozart too became haute couture of rarefied elegance and luxury. The reduced Orchestra National de Montpellier was in splendid form responding to Austrian conductor Sascha Goetzel’s delicate and obsessive shaping of the multiple instrumental voices that sang out in flights of studied splendor. Mo. Goetzel evoked a multitude of unusual colors and musical shapes by exploiting the sharper sounds we associate with early music rendered by the virtuoso forces of this exceptionally fine modern French orchestra.
Now let us talk about true perfection (and the suspicion that you had to fit the clothes to get the role). Czech baritone Adam Plachetka was the epitome of the libidinous Almaviva, in a costume masterpiece that resonated with the darkness of a Don Juan figure. Mr. Plachetka towered as the male, thirty-ish libido in full force, his voice with a sharp, maybe sadistic edge, and power, know-how and vulnerability. Svelte blond Italian soprano Erkia Grimaldi countered with a precociously full lyric thirty-ish Rosina and an astounding vocal technique (the reprise of Dove sono sung in a sleepy pianissimo). When not the sensuous woman in a form-fitting white early Hollywood gown lying on the floor or petting in a corner with Cherubino she donned a towering white wig-like construction to become the Countess.
Cherubino, young Israeli soprano Rachel Frenkel entered in white underclothes eschewing all trouser affectation. She was soon dressed by Rosina and Susanna to be Cupid himself as he remained for the rest of the opera. This Cherubino sung in an unusually lyric fashion was an ephemeral blue presence. Bartolo, Italian basso Antonio Abete, and Marcellina, svelte, not-at-all tall French mezzo Virginie Pochon were dressed in brilliant crimsons and were colorful rather than buffo objects, as was the brilliant yellow Basilio of French tenor Loîc Félix.
Loïc Félix as Basilio, Rachel Frenkel as Cherubino and Adam Plachetka as Count Almaviva
Both Figaro and Susanna were light on their feet, German baritone Konstantin Wolff effecting a few very graceful full body falls (not to ignore a spectacular body roll over the fourth act bench by Almavia himself). Mr. Wolff was in black leather pants and white shirt with criss crossing details that hinted Harlequin. An exquisite actor and fine singer he created a Figaro of genuine, even moving innocence, assuming finally the fetal position next to Marcellina during her fourth act aria. Québécoise soprano Hélène Guilmette, Susanna, carried an exposed traverse bustle under construction on her hips for most of the opera. The opera’s catalyst, its constructive and destructive forces she delivered her Deh, vieni alla fenestra with consummate innocence, its words emerging with such vocal naturalness that it seemed nearly spoken.
Designer and stage director Scarpita offered a vaguely detailed architectural space of neutral color in which the vividly costumed actors assumed high relief. There were very few props — an abstracted Susanna/Figaro bed subsequently also served as the chair for the first act trio (though the only idea of a bed in the Countess’ boudoir was the Countess lying on the floor). There was no window for Cherubino’s escape (he ran off stage right), and there was no shrubbery to hide behind in the fourth act. This minimalism was strikingly elegant, and carried into Mr. Scarpita’s story telling by his omission of most gestural detail, streamlining the action into fleet, sometimes abstractly narrative lines.
There were some real problems in the performance on June 26. Conductor Goetzel concentrated his attention on his instrumental voices, the stage voices left to fend for themselves. But sometimes these brilliant young artists missed the dramatic and musical confidence to be on their own, and, well, maybe opera does need an opera conductor after all. At the worst moments, and there were many, the pit and stage seemed absolutely unconnected (at best, in the fourth act, Mozart was more magical than ever).
Peter Longauer as Antonio, Konstantin Wolff as Figaro, Erika Grimaldi as Countess Almaviva and Hélène Guilmette as Susanna
The brilliance of the costume design and the refinement of the staging seemed to overwhelm the simple humanity of the repertoire’s most succinctly human opera.
It could be that everyone’s game was a bit off that evening. The performance was postponed for 30 minutes so that the chorus, orchestra and stage hands could make the audience aware of their dissatisfaction with Jean-Paul Scarpita as general director of the Opéra National de Montpellier. Among the complaints was that Mr. Scarpita had banished the chorus to the pit for this production because he did not want “fat cows” (des vaches grasses they said he said) on the stage, replacing them with the lithe bodies of supernumeraries who presumably fit more suitably into haute couture.
Such artistic considerations would have been more commendable had Mr. Scarpita used a corps de ballet (even better bodies than his supernumeraries) and a choreographer for his servants and peasants. These scenes were regretful, clumsy moments.
There are two more performances as part of the Montpellier Radio France Festival, July 14 and 15. It is quite possible that stars may align and forces may converge to achieve the perfection we imagined on June 26.