10 Oct 2012
Die Zauberflöte, ENO
‘The last-ever performances of Nicholas Hytner’s production of The Magic Flute,’ claims the programme.
The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission
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.
“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.
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.
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.
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.
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.
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).
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.
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.
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.
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.
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.
Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.
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.
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.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
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.
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.
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
‘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