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 Reviews

Anna Netrebko, now a dramatic soprano, shines in the Met’s dark and murky ‘Macbeth’

The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission

Arizona Opera Presents First Mariachi Opera

Houston Grand Opera commissioned Cruzar la Cara de la Luna from composer José “Pepe” Martínez, music director of Mariachi Vargas de Tecalitlán, who wrote the text together with Broadway and opera director Leonard Foglia. The work had its world premier in 2010. Since then, it has traveled to several cities including Paris, Chicago, and San Diego.

Plácido Domingo: I due Foscari, London

“Why should I go to hear Plácido Domingo” someone said when Verdi’s I due Foscari was announced by the Royal Opera House. There are very good reasons for doing so.

Philip Glass’s The Trial

Music Theatre Wales presented the world premiere of Philip Glass’s The Trial (Kafka) last night at the Linbury, Royal Opera House. Music Theatre Wales started doing Glass in 1989. Their production of Glass’s In the Penal Colony in 2010 was such a success that Glass conceived The Trial specially for the company.

Joyce DiDonato: Alcina, Barbican, London

To say that the English Concert’s performance of Handel’s Alcina at the Barbican on 10 October 2014 was hotly anticipated would be an understatement. Sold out for weeks, the performance capitalised on the draw of its two principals Joyce DiDonato and Alice Coote and generated the sort of buzz which the work did at its premiere.

Un ballo in maschera in San Francisco

The subject is regicide, a hot topic during the Italian risorgimento when the Italian peninsula was in the grip of the Hapsburgs, the Bourbons, the House of Savoy and the Pontiff of the Catholic Church.

A New Don Giovanni and Anniversary at Lyric Opera of Chicago

Lyric Opera of Chicago opened its sixtieth anniversary season with a new production of Mozart’s Don Giovanni directed by Artistic Director of the Goodman Theater, Robert Falls.

Grande messe des morts, LSO

It was a little over two years ago that I heard Sir Colin Davis conduct the Berlioz Requiem in St Paul’s Cathedral; it was the last time I heard — or indeed saw — him conduct his beloved and loving London Symphony Orchestra.

Guillaume Tell, Welsh National Opera

Part of their Liberty or Death season along with Rossini’s Mose in Egitto and Bizet’s Carmen, Welsh National Opera performed David Pountney’s new production of Rossini’s Guillaume Tell (seen 4 October 2014).

Mose in Egitto, Welsh National Opera

Welsh National Opera’s production of Rossini’s Mose in Egitto was the second of two Rossini operas (the other is Guillaume Tell) performed in tandem for their autumn tour.

L’incoronazione di Poppea, Barbican Hall

In Monteverdi’s first Venetian opera, Il Ritorno d’Ulisse (1641), Penelope’s patient devotion as she waits for the return of her beloved Ulysses culminates in the triumph of love and faithfulness; in contrast, in L’incoronazione di Poppea it is the eponymous Queen’s lust, passion and ambition that prevail.

Rameau’s Les Paladins, Wigmore Hall

After the triumphs of love, the surprises: Les Paladins, under their director Jérôme Correas, and soprano Sandrine Piau are following their tour of material from their 2011 CD, ‘Le Triomphe de L’amour’, with a new amatory arrangement.

Puccini : The Girl of the Golden West, ENO London

At the ENO, Puccini's La fanciulla del West becomes The Girl of the Golden West. Hearing this opera in English instead of Italian has its advantages, While we can still hear the exotic, Italianate Madama Butterfly fantasies in the orchestra, in English, we're closer to the original pot-boiler melodrama. Madama Biutterfly is premier cru: The Girl of the Golden West veers closer, at times, to hokum. The new ENO production gets round the implausibility of the plot by engaging with its natural innocence.

Anna Caterina Antonacci, Wigmore Hall, London

Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.

Il barbiere di Siviglia, Royal Opera

Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.

Gluck and Bertoni at Bampton

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.

Purcell: A Retrospective

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.

Mahler: Symphony no.3 — Prom 73

It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’

Los Angeles Opera Opens with La traviata

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.

Stars of Lyric Opera at Millennium Park, 2014

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.

OPERA TODAY ARCHIVES »

Reviews

Richard Nixon [Source: Wikipedia]
28 Sep 2012

Nixon in China at the BBC Proms

John Adams’s Nixon in China has become one of the most successful operas in the late 20th/early 21st century wave of post-modernist attempts to revitalise the operatic tradition. It has even started its own sub-genre, the so-called CNN opera.

John Adams : NIxon in China

Madame Mao: Kathleen Kim, Chairman Mao: Alan Oke, Chou En-Lai: Gerald Finley, President Nixon: Robert Orth, Pat Nixon: Jessica Rivera, Kissinger: James Rutherford, Secretary: Stephanie Marshall, Secretary: Louise Poole, Secretary: Susan Platts, Stage Director: Paul Curran, BBC Symphony Orchestra, BBC Singers, Conductor: John Adams

Royal Albert Hall, London 5th September 2012

Above: Richard Nixon [Source: Wikipedia]

 

The opera’s success owes something to Adams’s very personal musical style, with its inspirations from minimalism but with a liking for dramatic juxtapositions and willingness to embraces singable lines and individual characterisation. But the opera also owes a lot to Adams’s collaborators, director Peter Sellers and librettist Alice Goodman. It was Sellers who helped ensure that the opera was dramatically and dramaturgically sound, and Goodman who created the beautifully poetic libretto. One of the great tragedies of contemporary opera is that the furore surrounding The Death of Klinghoffer prevented the three from collaborating again. For the Prom on Wednesday5 September, the BBC had invited John Adams to conduct Nixon in China at the Royal Albert Hall.

Adams conducted the BBC Symphony Orchestra and BBC Singers with predominantly transatlantic principals. There was a staging of sorts by Paul Curran, with dramatic lighting. But this was an interesting opportunity to hear the work divorced from the iconic Peter Sellers production. The soloists were placed in front of the orchestra and were reliant on TV monitors and a repetiteur placed in the arena for communication with Adams, so not quite ideal circumstances.

Another drawback was that the acoustic intervention, that every Adams event like this has, was less than perfect. All the singers had individual microphones but the projection of each was rather variable; an effect perhaps of the infamous Royal Albert Hall acoustic. The singers used scores, but were certainly not static and Paul Curran managed to create both drama and humour, even the BBC Singers were involved, shouting, waving flags, manipulating a model of ‘The Spirit of 76’ and holding up Mao’s little red book.

Robert Orth as Nixon was new to me, though he was played the role on numerous occasions in the USA and is on the Naxos recording. As a visual and dramatic representation of Richard Nixon he was excellent, giving us a convincing visual simulacrum. Musically, I was less convinced and had rather wished that the BBC had had the courage to employ a singer who did not look like Nixon. In a non-representational semi-staging, all of Orth’s tics and visual mannerisms became wearing. Orth is an experienced singer, very experienced, his career dates back to the 1970’s; quite whether he was the best person for the role I am not sure.

His iconic opening aria was sung well enough, but it was far less than imposing. Without a life size representation of ‘The Spirit of 76’ behind him (we had to make to with a tiny model), he needed much more authority. Without authority and gravitas, there was a danger of Nixon being simply a buffoon. That this could be done was shown but Gerald Finley who managed to imbue every note of Chou En-lai’s statements with authority and commitment, making the role seem far more than it really is. I’d even begun to wonder what Finley might have been like as Nixon.

Where Orth came over well was in the quieter more intimate scenes with Jessica Rivera’s Pat Nixon. US born Rivera has appeared in a number of Adams’s operas, making her European debut in Doctor Atomic with Netherlands Opera. She made a poised, sympathetic Pat Nixon. Singing with a lovely rich toned lyric voice which brought radiance to the more purple passages.

James Rutherford played Kissinger with energy and gravitas but didn’t quite succeed in making complete sense of what is rather a diffuse and diverse role. I think that it is the role of Kissinger that most benefits from a detailed full staging.

Gerald Finley made Chou En-lai the central role of the opera, without appearing to actually do anything. He certainly brought convincing commitment to the rather densely purple philosophising, and was profoundly touching in the final monologue. It was an object lesson in how character can be created in this opera without over doing things.

Alan Oke brought similar commitment, and fearlessness, to Chairman Mao. His delivery of the role, with its high tessitura, was masterly. And he made Mao’s odd philosophical statements seem coherent, bringing real anger at the right moments. The irony of this role is that Adams has given wickedly high music to a character that is ailing (at least in the first act). Oke did not sound ailing, but he looked convincingly so.

Oke was ably supported by Louise Poole, Stephanie Marshall and Susan Platts as the three secretaries. They managed to sing and perform in neat unison and executed all of Curran’s comic moments with wonderful, dead-pan aplomb.

Curran could not manage to disguise the fact that the ballet sequence in act two out-stayed its welcome. Without a dance troop and Mark Morris’s choreography to cheer things up, the lack of real drama began to tell. This satirical sequence, based on one of Madam Mao’s infamous workers ballets has always seemed a saggy part of the opera.

So it was with more than usual relief that we welcomed the appearance of Korean soprano Kathleen Kim as Madam Mao and her stunning delivery of the showpiece aria ‘I am the wife of Mao Tse-tung’. Kim’s command of the coloratura and acuti was impressive. It has to be admitted that her tone seemed a little hard, but then this is in keeping with the character.

The final act would, I think, have benefited from not being staged. As it was Curran’s staging did not match many of the stage directions. And the characters are not really doing anything, I just wanted to be able to sit back and listen.

Bringing the orchestra out of the pit meant that we could appreciate even more the amazing and luminous effects Adams gets with his orchestration, especially as the BBC Symphony Orchestra were on such strong form. Adams seemed to take a moderately steady view of the work, concerned perhaps that everything could be heard clearly. This meant that come of the more dramatic passages lacked the visceral thrill that other conductors bring to them. The timings of Adams’s performance seemed to indicate that he was overall marginally slower than Marin Alsop on the Naxos recording, and Alsop’s speeds are marginally slower than those of Edo de Waart on the premiere recording.

Also, some sequences seemed oddly stilted with gaps between the in a way that I don’t think I have heard before. But then, I’ve never heard the composer conduct the work, nor was I following it with a score.

This was quite a long evening (7pm to 10.30pm with two 20 minute intervals) and there were times when I thought that the piece might benefit from cutting. But it was a pleasure and a privilege to hear Adams conducting his own work.

Robert Hugill

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):