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).
At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme each season during the next 27 years to exploring the music by Mozart and his contemporaries which was being written and performed exactly 250 years previously.
The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.
An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.
On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.
This second revival of Patrice Caurier and Moshe Leiser’s 2005 production of Rossini’s Il Turco in Italia seems to have every going for it: excellent principals comprising experienced old-hands and exciting new voices, infinite gags and japes, and the visual éclat of Agostino Cavalca’s colour-bursting costumes and Christian Fenouillat’s sunny sets which evoke the style, glamour and ease of La Dolce Vita.
English Touring Opera’s 2015 Spring Tour is audacious and thought-provoking. Alongside La Bohème the company have programmed a revival of their acclaimed 2013 production of Donizetti’s The Siege of Calais (L’assedio di Calais) and the composer’s equally rare The Wild Man of the West Indies (Il furioso all’isola di San Domingo).
Mary Zimmerman’s still-fresh production is made fresher still by Shagimuratova’s glimmering voice, but the acting disappoints
When WNYC’s John Schaefer introduced Meredith Monk’s beloved Panda Chant II, which concluded the four-and-a-half hour Meredith Monk & Friends celebration at Carnegie’s Zankel Hall, he described it as “an expression of joy and musicality” before lamenting the fact that playing it on his radio show could never quite compete with a live performance.
This year’s concert of the Chicago Bach Project, under the aegis of the Soli Deo Gloria Music Foundation, was a presentation of the St. John Passion (BWV 245) at the Harris Theater in Millennium Park.
It is not an everyday opera. It is an opera that illuminates a larger verismo history.
On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.
Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to explore the possibilities of unconventional spaces and unconventional programs that the company has made its hallmark. The results were musically and theatrically thought-provoking, and left me wanting more.
Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.
Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.
Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.
The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.
On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.
There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.
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.