10 Oct 2012
Die Zauberflöte, ENO
‘The last-ever performances of Nicholas Hytner’s production of The Magic Flute,’ claims the programme.
Four lonely people, bound by love and fate, with inexpressible feelings that boil over in the pressure cooker of war. Àlex Ollé’s conception of Il Trovatore for Dutch National Opera hits the bull’s eye.
This may be the twelfth revival of Jonathan Miller’s 1987 production of Rossini’s The Barber of Seville for English National Opera, but the ready laughter from the auditorium and the fresh musical and dramatic responses from the stage suggest that it will continue to amuse audiences and serve the house well for some time to come.
The third and final instalment of the Academy of Ancient Music’s survey of Monteverdi’s operas at the Barbican began and ended in darkness; the red glow of the single candle was an apt visual frame for a performance which was dedicated to the memory of the late Andrew Porter, the music critic and writer whose learned, pertinent and eloquent words did so much to restore Monteverdi, Cavalli and other neglected music-dramatists to the operatic stage.
English Touring Opera’s recent programming has been ambitious and inventive, and the results have been rewarding. We had two little-known Donizetti operas, The Siege of Calais and The Wild Man of the West Indies, in spring 2015, while autumn 2014 saw the company stage comedy by Haydn (Il mondo della luna) and romantic history by Handel (Ottone).
LA Opera got its season off to an auspicious beginning with starry revivals of Gianni Schicchi and Pagliacci.
On September 9, 2015, Opera Las Vegas presented James Sohre’s production of Viva Verdi at the Smith Center’s Cabaret Jazz. It was a delightful evening of arias, duets and ensembles by Giuseppe Verdi (1813-1901). The program included many of the composer’s blockbuster arias and scenes from famous operas such as Aida, La traviata, and Macbeth.
On Saturday, September 19, San Diego Opera opened its 2015-2016 season with a recital by tenor René Barbera. This was the first Polly Puterbaugh Emerging Artist Award Recital and no artist could have been more deserving than the immensely talented Barbera.
Did the iconic “off-beat” and “serious” American musical hold the stage of the War Memorial Opera House? The excited audience (standees three deep) thought so and roared their appreciation.
The Wigmore Hall, London, has launched Schubert : The Complete Songs, a 40-concert series to run through the 2015 and 2016 seasons. There have been Schubert marathons before, like BBC Radio 3's all-Schubert week and The Oxford Lieder Festival's Schubert series last year, but the Wigmore Hall series will be a major landmark because the Wigmore Hall is the Wigmore Hall, the epitome of excellence.
Luisa Miller sits on the fringes of the repertory, and since its introduction into the modern repertory in the 1970’s it comes around every 15 or so years. Unfortunately this 2015 San Francisco occasion has not bothered to rethink this remarkable opera.
Demonised by Pushkin and Peter Shaffer, Antonio Salieri lives in the public imagination as the embittered rival of Wolfgang Amadeus Mozart — whose genius he lamented and revered in equal measure, and against whom he schemed and plotted at the Emperor Joseph II’s Viennese court.
The annual concert given by Lyric Opera of Chicago as an outdoor event previewing the forthcoming season took place on 11 September 2015 at Millennium Park.
Orpheus — that Greek hero whose songs could enchant both deities and beasts, whose lyre has become a metaphor for the power of music itself, and whose journey to the Underworld to rescue his wife, Eurydice, kick-started the art of opera in Mantua in 1607 — has been travelling far and wide around the UK in 2015.
One is a quasi-verbatim rendering of J.M. Synge’s bleak tale of a Donegal family’s fateful dependency on and submission to the deathly power of the sea.
Is there anything that countertenor Iestyn Davies cannot do with his voice?
BBC Proms Youth Choir shines in a performance notable for its magical transparency
The John Wilson Orchestra have been annual summer visitors to the Royal Albert Hall since their Proms debut in 2009 and, with their seductive blend of technical precision, buoyant glitziness and relaxed insouciance, their concerts have become a hugely anticipated fixture and a sure highlight of the Promenade season.
Disappointing staging mars Alice Coote’s vibrant if wayward musical performance
Impresario Boris Goldovsky famously referred to La finta giardiniera as The Phony Farmerette.
At Santa Fe Opera, Donizetti’s effervescent The Daughter of the Regiment can’t quite decide what it wants to be when it grows up.
‘The last-ever performances of Nicholas Hytner’s production of The Magic Flute,’ claims the programme.
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.
Elena 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.
Duncan 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’.
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