Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Classical Opera/The Mozartists celebrate 20 years of music-making

Classical Opera celebrated 20 years of music-making and story-telling with a characteristically ambitious and eclectic sequence of musical works at the Barbican Hall. Themes of creation and renewal were to the fore, and after a first half comprising a variety of vocal works and short poems, ‘Classical Opera’ were succeeded by their complementary alter ego, ‘The Mozartists’, in the second part of the concert for a rousing performance of Beethoven’s Choral Symphony - a work described by Page as ‘in many ways the most iconic work in the repertoire’.

Back to Baroque and to the battle lines with English Touring Opera

Romeo and Juliet, Rinaldo and Armida, Ramadès and Aida: love thwarted by warring countries and families is a perennial trope of literature, myth and history. Indeed, ‘Love and war are all one,’ declared Miguel de Cervantes in Don Quixote, a sentiment which seems to be particularly exemplified by the world of baroque opera with its penchant for plundering Classical Greek and Roman myths for their extreme passions and conflicts. English Touring Opera’s 2017 autumn tour takes us back to the Baroque and back to the battle-lines.

Gluck’s Orphée et Eurydice at Lyric Opera of Chicago

Christoph Willibald von Gluck’s Orphée et Eurydice opened the 2017–18 season at Lyric Opera of Chicago.

Michelle DeYoung, Mahler Symphony no 3 London

The Third Coming ! Esa-Pekka Salonen conducted Mahler Symphony no 3 with the Philharmonia at the Royal Festival Hall with Michelle DeYoung, the Philharmonia Voices and the Tiffin Boys’ Choir. It was live streamed worldwide, an indication of just how important this concert was, for it marks the Philharmonia's 34-year relationship with Salonen.

King Arthur at the Barbican: a semi-opera for the 'Brexit Age'

Purcell’s and Dryden’s King Arthur: or the British Worthy presents ‘problems’ for directors. It began life as a propaganda piece, Albion and Albanius, in 1683, during the reign of Charles II, but did not appear on stage as King Arthur until 1691 when William of Orange had ascended to the British Throne to rule as William III alongside his wife Mary and the political climate had changed significantly.

Anne Schwanewilms sings Schreker, Schubert, Liszt and Korngold

On a day when events in Las Vegas cast a shadow over much of the news this was not the most comfortable recital to sit through for many reasons. The chosen repertoire did, at times, feel unduly heavy - and very Germanic - but it was also unevenly sung.

The Life to Come: a new opera by Louis Mander and Stephen Fry

It began ‘with a purely obscene fancy of a Missionary in difficulties’. So E.M. Forster wrote to Siegfried Sassoon in August 1923, of his short story ‘The Life to Come’ - the title story of a collection that was not published until 1972, two years after Forster’s death.

Aida opens the season at ENO

Director Phelim McDermott’s new Aida at ENO seems to have been conceived more in terms of what it will look like rather than what the opera is or might be ‘about’. And, it certainly does look good. Designer Tom Pye - with whom McDermott worked for ENO’s Akhnaten last year (alongside his other Improbable company colleague, costume designer Kevin Pollard) - has again conjured striking tableaux and eye-catching motifs, and a colour scheme which balances sumptuous richness with shadow and mystery.

La Traviata in San Francisco

A beautifully sung Traviata in British stage director John Copley’s 1987 production, begging the question is this grand old (30 years) production the SFO mise en scène for all times.

The Judas Passion: Sally Beamish and David Harsent offer new perspectives

Was Judas a man ‘both vile and justifiably despised: an agent of the Devil, or a man who God-given task was to set in train an event that would be the salvation of Humankind’? This is the question at the heart of Sally Beamish’s The Judas Passion, commissioned jointly by the Orchestra of the Age of Enlightenment and the Philharmonia Baroque of San Francisco.

Choral at Cadogan: The Tallis Scholars open a new season

As The Tallis Scholars processed onto the Cadogan Hall platform, for the opening concert of this season’s Choral at Cadogan series, there were some unfamiliar faces among its ten members - or faces familiar but more usually seen in other contexts.

Stars of Lyric Opera 2017, Millennium Park, Chicago

As a prelude to the 2017-18 season Lyric Opera of Chicago presented its annual concert, Stars of Lyric Opera at Millennium Park, during the last weekend. A number of those who performed in this event will be featured in roles during the coming season.

Die Zauberflöte at the ROH: radiant and eternal

Watching David McVicar’s 2003 production of Die Zauberflöte at the Royal Opera House - its sixth revival - for the third time, I was struck by how discerningly John MacFarlane’s sumptuous designs, further enhanced by Paule Constable’s superbly evocative lighting, communicate the dense and rich symbolism of Mozart’s Singspiel.

Fantasy in Philadelphia: The Wake World

Composer and librettist David Hertzberg’s magical mystery tour that is The Wake World opened to a cheering sold out audience that was clearly enraptured with its magnificent artistic achievement.

A Mysterious Lucia at Forest Lawn

On September 10, 2017, Pacific Opera Project (POP) presented Gaetano Donizetti’s Lucia di Lammermoor in a beautiful outdoor setting at Forest Lawn. POP audiences enjoy casual seating with wine, water, and finger foods at each table. General and Artistic Director Josh Shaw greeted patrons in a “blood stained” white wedding suit. Since Lucia is a Scottish opera, it opened with an elegant bagpipe solo calling members of the audience to their seats.

This is Rattle: Blazing Berlioz at the Barbican Hall

Blazing Berlioz' The Damnation of Faust at the Barbican with Sir Simon Rattle, Bryan Hymel, Christopher Purves, Karen Cargill, Gabor Bretz, The London Symphony Orchestra and The London Symphony Chorus directed by Simon Halsey, Rattle's chorus master of choice for nearly 35 years. Towards the end, the Tiffin Boys' Choir, the Tiffin Girls' Choir and Tiffin Children's Choir (choirmaster James Day) filed into the darkened auditorium to sing The Apotheosis of Marguerite, their voices pure and angelic, their faces shining. An astonishingly theatrical touch, but absolutely right.

Moved Takes on Philadelphia Headlines

There‘s a powerful new force in the opera world and its name is O17.

Philly Flute’s Fast and Furious Frills

If you never thought opera could make your eyes cross with visual sensory over load, you never saw Opera Philadelphia’s razzle-dazzle The Magic Flute.

At War With Philadelphia

Enterprising Opera Philadelphia has included a couple of intriguing site-specific events in their O17 Festival line-up.

The Mozartists at the Wigmore Hall

Three years into their MOZART 250 project, Classical Opera have launched a new venture, The Mozartists, which is designed to allow the company to broaden its exploration of the concert and symphonic works of Mozart and his contemporaries.

OPERA TODAY ARCHIVES »

Performances

Elena Xanthoudakis as Pamina and Shawn Mathey as Tamino [Photo by Alastair Muir courtesy of English National Opera]
10 Oct 2012

Die Zauberflöte, ENO

‘The last-ever performances of Nicholas Hytner’s production of The Magic Flute,’ claims the programme.

Die Zauberflöte, ENO

A review by Mark Berry

Above: Elena Xanthoudakis as Pamina and Shawn Mathey as Tamino

Photos by Alastair Muir courtesy of English National Opera

 

Maybe they are, maybe not; the same has been said before. It is, at any rate, difficult to think that they should not be. Quite why such reverence should be accorded what at best one might call a ‘straightforward’ production is beyond me. Some will doubtless applaud the lack of anything so strenuous as an idea or two, anti-intellectualism being so ingrained in certain quarters of this country’s commentariat. (Remember the outrage at the Royal Opera’s splendid Rusalka?) Some, ignorant of or simply uninterested in, the Rosicrucian mysteries of the work, will doubtless have been happy with a naïveté that sits at best awkwardly with our age, irreversibly ‘sentimental’ in Schiller’s sense. But surely even they would have found this revival tired, listless. Apparently some of them did not, however, given the raucous laughter issuing from around the theatre: any time a rhyming couplet appeared on the surtitles, some found it almost unbearably hilarious. Moreover, audience participation went beyond even the usual coughing, chattering, and opening of sweets. (A woman behind me must have made her way through a good quarter of the city’s stocks of Wine Gums). Someone even saw fit to disrupt the performance by shouting out a proposal of marriage to Papageno just at that saddest, pathos-ridden of moments when the music turns and he resolves to take his life. No matter though: it elicited a great deal of hilarity. And that of course is all that matters. Those who laughed at the priests’ dialogue may or may not have been aware how offended Mozart was at someone who did the same in the composer’s presence. Presumably the same people thought it ‘amusing’ to boo Adrian Thompson’s rather good Monostatos too. They seemed, however, a little hard of hearing, for their applause generally began long before the orchestra had concluded.

Magic-Flute-Elena-Xanthoud.gifElena Xanthoudakis as Pamina and Kathryn Lewek as The Queen of the Night

Jeremy Sams’s ‘English version’ doubtless egged them on in all their boorishness. I have asked before what is held to be wrong with Schikaneder. One can point to shortcomings, no doubt, though one should always bear in mind Goethe’s admiration. But the only good thing one can really say about this hodgepodge is that it is not nearly so bad as what Sams has inflicted upon The Marriage of Figaro and Don Giovanni. It remains intensely pleased with itself, drawing attention to itself rather than shedding light upon the drama, and remains distant enough that ‘version’ is wisely substituted for ‘translation’. Yet, given the difficulties so many of the cast had with delivering the dialogue, it really might as well all have been in German. That would also have relieved us of that terrible clash between the text we know in our heads - especially for the text set to music - and that we hear on stage and/or see in the titles (the latter two not always being the same). Different accents are ‘amusingly’ employed; one might have thought it offensive to find a Welsh accent (Papagena) intrinsically funny, but apparently not.

Nicholas Collon’s conducting was disappointing. One often hears far worse in Mozart nowadays; yet, as so often, it was difficult not to long for great performances of the past (Furtwängler, Böhm, Klemperer, et al.), or indeed of the present (Sir Colin Davis). ‘Lightness’ was for the most part all, a peculiar mannerism being the falling off into nothingness at the end of many numbers. Quite why one would wish to make this score, often but a stone’s throw, if that, from Beethoven, sound so inconsequential, is beyond me; at least it was not brutalised, as ‘period’ fanatics would wish. That said, the brass sounded as if they were natural; they may or may not have been, since modern instrumentalists are sometimes instructed perversely to ape the rasping manner of their forebears, and I could not see into the pit. At any rate, the result was unpleasant. A few numbers were taken far too quickly, but for the most part it was the lack of harmonic grounding that troubled rather than speeds as such; we were spared the ludicrous Mackerras triple-speed approach to ‘Ach, ich fuhl’s,’ one of the worst atrocities I have ever had the misfortune to hear inflicted upon Mozart. But as for the lily-gliding of introducing a glockenspiel part into the final chorus... Mozart is not Monteverdi; he does not need to be ‘realised’, and certainly not like that. A good number of appoggiaturas and other instances of ornamentation were introduced to the vocal lines, not least to those of the Three Ladies at the beginning. The fashionable practice does no especial harm, I suppose, but nor does it really accomplish anything beyond drawing mild attention to itself.

The-Magic-Flute-Duncan-Rock.gifDuncan Rock as Papageno, Elizabeth Llewellyn as First Lady, Catherine Young as Second Lady, Pamela Helen Stephens as Third Lady and Shawn Mathey as Tamino

Vocally there was more to enjoy, though the record was mixed. Elena Xanthoudakis made for an unusually rich-toned Pamina. Best of all was Duncan Rock’s Papageno, for the most part quite beautifully sung, though his dialogue veered confusingly between outright Australian and something less distinct. Kathryn Lewek had some difficulties with her intonation as the Queen of the Night, but then most singers do; more troubling was her tendency to slow down to cope with the coloratura. Shawn Mathey resorted to crooning more than once during his Portrait Aria and was throughout a somewhat underwhelming Tamino. Robert Lloyd’s voice is, sadly, not what it was; Sarastro’s first aria sounded very thin, though matters improved thereafter. There was luxury casting, however, when it came to the Three Ladies; Elizabeth Llewellyn is already a noted Countess, and it showed. The Three Boys were excellent too: three cheers to Edward Birchinall, Alex Karlsson, and Thomas Fetherstonhaugh. Choral singing was a bit workmanlike but that may have been as much a matter of the conducting as anything else. One certainly had little sense of the kinship with Mozart’s other Masonic music.

The website and programme have the Two Armoured Men as the ‘Two Armed Men’, a strangely common yet baffling error: the German is perfectly clear. At least the production had it right, the men donning breastplates at the opening of that great chorale prelude. The Queen of the Night remains, for some reason, the ‘Queen of Night’.

Mark Berry


Cast:

Tamino: Shawn Mathey; Papageno: Duncan Rock; Queen of the Night: Kathryn Lewek; Monostatos: Adrian Thompson; Pamina: Elena Xanthoudakis; Speaker: Roland Wood; Sarastro: Robert Lloyd; Papagena: Rhian Lois; Two Priests, Two Armoured Men: Nathan Vale, Barnaby Rea; Three Ladies: Elizabeth Llewellyn, Catherine Young, Pamela Helen Stephen; Three Boys: Edward Birchinall, Alex Karlsson, Thomas Fetherstonhaugh; Director: Nicholas Hytner; Revival Directors: Ian Rutherford and James Bonas; Designs: Bob Crowley; Lighting: Nick Chelton, Ric Mountjoy. Chorus of the English National Opera (chorus master: Martin Fitzpatrick); Orchestra of the English National Opera/Nicholas Collon (conductor). The Coliseum, London, Thursday 13 September 2013

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):