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).
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.
On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman theatre of Aspendos near Antalya in southern Turkey is not an arena or amphitheatre at all, so there are not nearly as many ghosts of gored gladiators or dismembered Christians to disturb the contemporary feng shui as in other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014 by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings
On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!
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.