Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Christine Goerke - Strauss Elektra BBC Proms 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. Felicity Palmer was Clytemnestra, Gun-Brit Barkmin was Chrysothemis, Robert Kunzli was Aegisthus and Johan Reuter was Orestes. The concert staging was by Justin Way.

Christine Goerke - Strauss Elektra BBC Proms 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. Felicity Palmer was Clytemnestra, Gun-Brit Barkmin was Chrysothemis, Robert Kunzli was Aegisthus and Johan Reuter was Orestes. The concert staging was by Justin Way.

Powerful Mahler Symphony no 2 Harding, BBC Proms London

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.

Nina Stemme's stunning Strauss Salome, BBC Proms London

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

Santa Fe Opera Presents Updated, at One Point Up-ended, Don Pasquale

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!

Dolora Zajick Premieres Composition

At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.

Santa Fe Opera Presents Huang Ruo's Sun Yat-sen

By emphasizing the love between Sun Yat-sen and Soong Ching-ling, Ruo showed us the human side of this universally revered modern Chinese leader. Writer Lindsley Miyoshi has quoted the composer as saying that the opera is “about four kinds of love.” It speaks of affection between friends, between parents and children, between lovers, and between patriots and their country.

Britten War Requiem - Andris Nelsons, CBSO, BBC Prom 47

In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.

Santa Fe Opera Presents an Imaginative Carmen

Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.

Elgar Sea Pictures : Alice Coote, Mark Elder Prom 31

Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.

Berio Sinfonia, Shostakovich, BBC Proms

Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.

Four countertenors : Handel Rinaldo Glyndebourne

Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.

Santa Fe Opera Presents The Impresario and Le Rossignol

On August 7, 2014, the Santa Fe Opera presented a double bill of Wolfgang Amadeus Mozart’s The Impresario and Igor Stravinsky’s Le Rossignol (The Nightingale). The Impresario deals with the casting of an opera and Le Rossignol tells the well-known fairy tale about the plain gray bird with an exquisite song.

Barber in the Beehive State

Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.

Stravinsky : Oedipus Rex, BBC Proms

In typical Proms fashion, BBC Prom 28 saw Stravinsky's Oedipus Rex performed in an eclectic programme which started with Beethoven's Egmont Overture and also featured Electric Preludes by the contemporary Australian composer Brett Dean. Sakari Oramo,was making the first of his Proms appearances this year, conducting the BBC Symphony Orchestra, BBC Singers and BBC Symphony Chorus.

Santa Fe Opera Presents a Passionate Fidelio

Santa Fe Opera presented Beethoven’s Fidelio for the first time in 2014. Since the sides of the opera house are open, the audience watched the sun redden the low hanging clouds and set below the Sangre de Cristo mountains while Chief Conductor Harry Bicket led the Santa Fe Opera Orchestra in the rousing overture. At the same time, Alex Penda as the title character readied herself for the ordeal to come as she endeavored to rescue her unjustly imprisoned husband.

Rameau Grand Motets, BBC Proms

Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17.

Adriana Lecouvreur, Opera Holland Park

Twelve years after Opera Holland Park's first production of Francesco Cilea’s Adriana Lecouvreur, the opera made a welcome return.

Back to the Beginnings: Monteverdi’s Il ritorno d’Ulisse in patria at Iford Opera.

The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre.

Schoenberg : Moses und Aron, Welsh National Opera, London

Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission.

OPERA TODAY ARCHIVES »

Performances

Michael Laurenz (Scaramuccio), Gabriel Bermúdez (Harlequin), Elena Moșuc (Zerbinetta), Martin Mitterrutzner (Brighella), Tobias Kehrer (Truffaldino)[Photo © Ruth Walz]
20 Aug 2012

Ariadne auf Naxos, Salzburg Festspiele

When announced in November, this was trailed as the original version of Ariadne auf Naxos, a rare treat indeed.

Richard Strauss: Ariadne auf Naxos

Prima Donna/Ariadne: Emily Magee; Zerbinetta: Elena Moşuc; Tenor/Bacchus: Roberto Saccà; Naiad/Shepherdess: Eva Liebau; Dryad/ Shepherd: Marie-Claude Chappuis, Echo/Singer: Eleonora Burato; Harlekin: Gabriel Bermúdez, Scaramuccio: Michael Laurenz; Truffaldin: Tobias Kehrer; Brighella: Martin Mitterrutzner; Major-Domo: Peter Matić; Monsieur Jourdain: Cornelius Obonya; Composer: Thomas Frank; Hofmannsthal: Michael Rotschopf; Ottonie/Dorine: Regina Fritsch; Nikoline: Stefanie Dvorak; Lakai: Johannes Lange. Sven-Erik Bechtholf, director. Rolf Glittenberg set designs. Marianne Glittenberg costumes. Heinz Spoerli choreography. Jürgen Hoffmann lighting. Ronny Dietrich dramaturgy. Vienna Philharmonic Orchestra. Daniel Harding conductor.

Haus für Mozart, Salzburg, August 2012

Above: Michael Laurenz (Scaramuccio), Gabriel Bermúdez (Harlequin), Elena Moșuc (Zerbinetta), Martin Mitterrutzner (Brighella), Tobias Kehrer (Truffaldino)

All photos © Ruth Walz courtesy of the Salzburg Festival

 

What materialised was something rather different, which ultimately delivered less than it might have seemed to promise. The Salzburg Festival’s Director of Drama not only directed the stage proceedings, but offered a new version of his own. Hofmannsthal’s adaptation of Molière’s Le bourgeois gentilhomme is itself adapted so as to form the basis of a further level of metatheatricality. Nothing wrong with that in principle; indeed Strauss tends to thrive on such æsthetic play.

ARIADNE_AUF_NAXOS0054a.gifEmily Magee (The Prima Donna/Ariadne)

The problem, however, is that the new level is ultimately banal, an explanation of the enterprise being a Hollywood love-story between Hofmannsthal and Ottonie von Degenfeld-Schonburg. What most interests many of us about Strauss is the fraught relationship, and sometimes serene disconnection dialectically reinforcing itself as in connection, between life and work. Presentation of a vulgar, sub-Romantic ‘life explains works’ story cheapens rather than intrigues. Otherwise, Bechtholf’s production is unobjectionable. Rolf Glittenberg’s set designs are stylish, likewise Marianne Glittenberg’s costumes, save for an unfathomably dreadful leopard-skin get up for Bacchus. (Zerbinetta likens his stealing forward to that of a panther, but even so…)

Added to this mix prior to the interval are certain parts of the later, 1916 Prologue, albeit spoken. What a waste to reduce the Composer to a spoken part! At least, however, we have opportunity to hear the incidental music. Then, after the interval, comes the opera proper, albeit with interventions from Hofmannsthal and Ottonie — yes, their love bears fruit at the same time as that of Ariadne and Bacchus — and, more irritatingly, from the dreadful M.Jourdain, objecting, in a fashion doubtless considered ‘witty’, that the music might be beautiful but it lacks a French horn, that Ariadne does nothing but complain, and so on. Many of these ideas might have sounded good on paper, even in discussion, but would have been better off rejected when it came to practical rehearsal. Yes, we hear the opera music for 1912, but we do not hear it as conceived: a pity, when even this problematical first version is so manifestly greater in sophistication than this 2012 Salzburg ‘version’. It was fascinating to hear what remained from 1912, but it would have been still more fascinating to have heard it all.

hires-ARIADNE_AUF_NAXOS0063.gifRoberto Saccà (Tenor/Bacchus)

After an occasionally shaky start, the Vienna Philharmonic was on good form. Daniel Harding shaped the incidental music before the interval with knowledge both of its French Baroque origins and the affectionate almost-but-not-quite neo-classicism in which Strauss clothes it. The Overture in retrospect offered something of an exception, more Stravinskian than what was to come, but not jarringly so. Form was conveyed intelligently and meaningfully throughout the opera, a more than satisfactory balance achieved between ‘numbers’ and the greater whole. The final climax was thrilling, moving as it should, the chamber orchestral forces persuading one, in a moment of echt-Straussian magic, that they are larger than they are, both consequence and deflation of Wagner’s examples. (The earlier Tristan quotations did not fail to delight, nor, of course, to raise a smile.)

Emily Magee was an adequate Ariadne, but rarely more than that. Too often, her voice failed to soar as it should; an edge to it proved a touch unpleasant. Elena Moşuc, by contrast, proved an outstanding Zerbinetta. Her extended aria, up a semitone, was delivered as flawlessly as I can recall any performance of the somewhat easier — that is, of course, relative! — 1916 version. The 1912 aria is even more outsized, even more absurd, in its way even more lovable; at least, that was how it sounded here. Roberto Saccà did a fine job in the thankless role of Bacchus; if he could not quite manage to prevent the strain from showing, and could not quite help one long for Jonas Kaufmann, who performed the role earlier in the run, there was a great deal for which to be grateful and nothing which to object. (Apart, that is, from the costume.) Zerbinetta’s followers were full of character and inviting of tone; it would really be invidious to choose between Gabriel Bermúdez, Michael Laurenz, Tobias Kehrer, and Martin Mitterrutzner. Likewise the other smaller sung roles. If the actors impressed less, it was difficult to know whether that was simply on account of the material. At any rate, I assume the over-acting of Cornelius Obonya’s M. Jourdain was at least in part on directorial instruction.

Will someone now offer us the 1912 version we were promised? And then we can return safely to the unalloyed joys of 1916.

Mark Berry

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):