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 Reviews

La Rondine Takes Flight in San Jose

Kudos to San Jose Opera for offering up a wholly winning, consistently captivating new production of Puccini’s seldom performed La Rondine.

Bettina Smith, Norwegian Mezzo, in Songs by Fauré and Debussy

Here are five complete song sets by two of the greatest masters of French song. The performers are highly competent. I should have known, given the rave reviews that their 2015 recording of modern Norwegian songs received.

Clonter Opera Gala

Clonter’s Opera Gala in the breath-taking beautiful ball-room at the Lansdowne Club in Mayfair was a glamorously glittering smattering of opera – which made me want to run out to every opera in town.  

Étienne-Nicolas Méhul: Uthal

The opera world barely knows how to handle works that have significant amounts of spoken dialogue. Conductors and stage directors will often trim the dialogue to a bare minimum (Magic Flute), have it rendered as sung recitative (Carmen), or have it spoken in the vernacular though the sung numbers may often be performed in the original language (Die Fledermaus).

A New Anna Moffo?: The Debut Disc of Aida Garifullina

Here is the latest CD from a major label promoting a major new soprano. Aida Garifullina is utterly remarkable: a lyric soprano who also can handle coloratura with ease. Her tone has a constant shimmer, with a touch of quick, narrow vibrato even on short notes.

A New Die Walküre at Lyric Opera of Chicago

From the start of Lyric Opera of Chicago’s splendid, new production of Richard Wagner’s Die Walküre conflict and resolution are portrayed throughout with moving intensity. The central character Brünnhilde is sung by Christine Goerke and her father Wotan by Eric Owens.

As One a Haunting Success in San Diego

San Diego Opera has mined solid gold with its mesmerizing and affecting production of As One, a part of their innovative ‘Detour Series.’

OLF: Songs by Tchaikovsky, Anton Rubinstein, Rachmaninov and Georgy Sviridov

Compared to the oft-explored world of German lieder and French chansons, the songs of Russia are unfairly neglected in recordings and in the concert hall. The raw emotion and expansive lyricism present in much of this repertoire was clearly in evidence at the Holywell Music Room for the penultimate day of the celebrated Oxford Lieder Festival.

Stockhausen’s STIMMUNG and COSMIC PULSES at the Barbican.

This concert was an event on several levels - marking a decade since the death of Stockhausen, the fortieth anniversary (almost to the day) since Singcircle first performed STIMMUNG (at the Round House), and their final public performance of the piece. It was also a rare opportunity to hear (and see) Stockhausen’s last completed purely electronic work, COSMIC PULSES - an overwhelming visual and aural experience that anyone who was at this concert will long remember.

Bampton Classical Opera Young Singers’ Competition 2017 - Winner Announced

Bampton Classical Opera is pleased to announce that the winner of the 2017 Young Singers’ Competition is mezzo-soprano Emma Stannard and the runner-up is tenor Wagner Moreira. The winner of the accompanists’ prize, a new category this year, is Keval Shah.

Il sogno di Scipione: a new recording from Classical Opera

With this recording of Mozart’s 1771 opera, Il sogno di Scipione (Sicpio’s Dream), Classical Opera continue their progress through the adolescent composer’s precocious achievements and take another step towards the fulfilment of their complete Mozart opera series for Signum Classics.

TOSCA: A Dramatic Sing-Fest

On November 12, 2017, Arizona Opera presented Giacomo Puccini’s verismo opera, Tosca, in a dramatic production directed by Tara Faircloth. Her production utilized realistic scenery from Seattle Opera and detailed costumes from the New York City Opera. Gregory Allen Hirsch’s lighting made the set look like the church of St. Andrea as some of us may have remembered it from time gone by.

The Lighthouse: Shadwell Opera at Hackney Showroom

‘Only make the reader’s general vision of evil intense enough … and his own experience, his own imagination, his own sympathy … and horror … will supply him quite sufficiently with all the particulars. Make him think the evil, make him think it for himself, and you are released from weak specifications.’

Elisabeth Kulman sings Mahler's Rückert-Lieder with Sir Mark Elder and the Britten Sinfonia

Austrian singer Elisabeth Kulman has had an interesting career trajectory. She began her singing life as a soprano but later shifted to mezzo-soprano/contralto territory. Esteemed on the operatic stage, she relinquished the theatre for the concert platform in 2015, following an accident while rehearsing Tristan.

Tremendous revival of Katie Mitchell's Lucia at the ROH

The morning sickness, miscarriage and maundering wraiths are still present, but Katie Mitchell’s Lucia di Lammermoor, receiving its first revival at the ROH, seems less ‘hysterical’ this time round - and all the more harrowing for it.

Manon in San Francisco

Nothing but a wall and a floor (and an enormous battery of unseen lighting instruments) and two perfectly matched artists, the Manon of soprano Ellie Dehn and the des Grieux of tenor Michael Fabiano, the centerpiece of Paris’ operatic Belle Époque found vibrant presence on the War Memorial stage.

Garsington Opera’s Silver Birch on BBC Arts Digital

Audiences will have the chance to feel part of a new opera inspired by Siegfried Sassoon’s poems with an innovative 360-degree simulated experience of Garsington Opera’s Silver Birch on BBC Arts Digital from midday, Wednesday 8th November.

Mozart’s Requiem: Pierre-Henri Dutron Edition

The stories surrounding Mozart’s Requiem are well-known. Dominated by the work in the final days of his life, Mozart claimed that he composed the Requiem for himself (Landon, 153), rather than for the wealthy Count Walsegg’s wife, the man who had commissioned it in July 1791.

A beguiling Il barbiere di Siviglia from GTO

I had mixed feelings about Annabel Arden’s production of Il barbiere di Siviglia when it was first seen at Glyndebourne in 2016. Now reprised (revival director, Sinéad O’Neill) for the autumn 2017 tour, the designs remain a vibrant mosaic of rich hues and Moorish motifs, the supernumeraries - commedia stereotypes cum comic interlopers - infiltrate and interact even more piquantly, and the harpsichords are still flying in, unfathomably, from all angles. But, the drama is a little less hyperactive, the characterisation less larger-than-life. And, this Saturday evening performance went down a treat with the Canterbury crowd on the final night of GTO’s brief residency at the Marlowe Theatre.

Brett Dean's Hamlet: GTO in Canterbury

‘There is no such thing as Hamlet,’ says Matthew Jocelyn in an interview printed in the 2017 Glyndebourne programme book. The librettist of Australian composer Brett Dean’s opera based on the Bard’s most oft-performed tragedy, which was premiered to acclaim in June this year, was noting the variants between the extant sources for the play - the First, or ‘Bad’, Quarto of 1603, which contains just over half of the text of the Second Quarto which published the following year, and the First Folio of 1623 - no one of which can reliably be guaranteed superiority over the other.

OPERA TODAY ARCHIVES »

Reviews

Kate Valentine as Musetta, Gary Griffiths as Schaunard and David Soar as Colline [Photo by Catherine Ashmore courtesy of Welsh National Opera]
28 Oct 2012

La bohème on Tour, WNO, Oxford

Every major opera company needs a production of La bohème. It is one of the operas which has the potential to attract everyone, the work which will tempt the occasional opera goer into the theatre.

Giacomo Puccini : La bohème

Marcello: David Kempster; Rodolfo: Alex Vicens; Colline: Piotr Lempa; Schaunard: Daniel Grice; Benoit: Howard Kirk; Mimi: Giselle Allen; Parpignol: Michael Clifton-Thompson; Alcindoro: Martin Lloyd; Musetta: Kate Valentine; Customs Official: Laurence Cole; Customs Sergeant: Stephen Wells. Chorus and Orchestra of Welsh National Opera. Conductor: Simon Phillippo. Director: Annabel Arden. Designer: Stephen Brimson Lewis.

Thursday, October 25 2012, New Theatre, Oxford

Above: Kate Valentine as Musetta, Gary Griffiths as Schaunard and David Soar as Colline

Photos by Catherine Ashmore courtesy of Welsh National Opera

 

As such, larger companies tend to err on the side of caution when creating new productions. Puccini’s La bohème is quite tightly constructed, and it doesn’t take easily to deconstruction or redefinition; the most directors tend to do is to move the period of the action from the mid-1800’s of the original. Annabel Arden’s new production for Welsh National Opera concentrates on telling the story in a clear, direct manner and illuminating the relationships between the characters with telling details. The production was new in June 2012, but WNO has revived it for their autumn tour; as a number of the original cast are in this revival it feels more like an extension of the original run.

I caught it on Thursday 25 October at the New Theatre, in Oxford. The New Theatre was originally a 1930’s cinema, and though the theatre takes large scale musical shows, there seems to be no pit, The WNO orchestra played from the floor of the stalls, which did seem to affect balance slightly though conductor Simon Phillippo did his best to keep the orchestra down and the singers were never overwhelmed. Phillippo is a WNO staff conductor who has taken over from Carlo Rizzi for this revival.

Arden and her designer Stephen Brimson Lewis have set the opera in the Paris of the early 20th century. These Bohemians are some of the young artists who flocked to Paris in these years, Les Annees Folles. The advantage of this is that we no longer have to think of the men as students. Though WNO’s singers were all young, this relieved the men of some of the more embarrassing antics which can mar acts 1 and 3. Here the men were skittish, but believable.

The setting for act 1 was rather cool. The set was a fixed structure, with a ramp at the back and doors on from the sides, all in metal. For act 1 these were disguised by translucent drops which depicted a Parisian roof-scape (in white), along with projections to add atmosphere. The flat had no walls, which combined with the translucent nature of the drops, meant that Arden could create some magical effects. The moment when Marcello (David Kempster), Colline (Piotr Lempa) and Schaunard (Daniel Grice) appear in the street and shout up to Rodolfo (Alex Vicens) and Mimi (Giselle Allen) was magical.

For act 2, the entire setting was in the open air, with waiters coming and going through the big metal doors at the side of stage. Projections on the back enlivened things, adding detail to what could have been a stark setting. I felt that Arden’s handling of the crowds in the busier parts of the scene seemed a little stilted, as if she was feeling constrained by the need to make a busy stage out of not quite enough people. She relied quite heavily on the excellent childrens chorus and on Michael Clifton-Thompson’s Parpignal (in a monkey mask!) to create movement. But from the moment when Musetta (Kate Valentine) struck up the waltz song, it was spell-binding. It seemed that Arden was best at illuminating individual details in the opera.

Boheme_WNO_2012_05.gifMichael Clifton-Thompson as Parpignol with cast

During this scene, the playing of the time period was, I think, a little heavy handed with one woman dressed as a man, another looking like Gertrude Stein or Frida Kahlo and two men in drag. Perhaps Paris was really like this at that time, but it felt a bit over done.

For act 3 the set was reduced to its simple basics, forming a bleak cold backdrop to the action. In the final act, though we were back in the flat, there were no drops of streetscapes, everything was bleaker, cooler, simpler; a rather elegant use of naturalism and stylisation to aid the story telling.

Spanish tenor Alex Vicens was in the original production but his Mimi, Giselle Allen, was new for this revival. Vicens has an appealing stage manner, his Rodolfo was endearing and involving in ways that do not always happen. Vicens had a tendency to semaphore with his hands, a habit that the director had clearly not been able to break him of, but he conveyed Rodolfo’s charm. You could understand why Mimi might fall for him. It has to be admitted that Vicens voice was a bit dry at the top, so that the famous moments in act 1 did not flower, quite the way they should have done. But Vicens was ardent and intense, shaping the music nicely.

Giselle Allen did not seem entirely comfortable in act 1 either. She and Vicens generated real tension and real attraction during their scene, the action was dramatically believable but musically it did not quite blossom. In fact, their strongest moment musically was act 3; this seemed to suit Allen’s voice best and their duet was heart breaking both dramatically and musically. I did wonder whether Allen’s repertoire might suggest her moving in a rather more dramatic direction. She is not the most Italianate of singers, but applied real intelligence to the role and was always a delight dramatically.

The strength of Arden’s production was in the little naturalistic details which she illuminated the action. In the wrong hands this would seem fussy, but here it helped made sense of the plot. And the act 4 death scene for Mimi was one of the most moving, least stagey that I have ever come across; a testament both to Arden and to Vicens and Allen.

Of course, this attention to detail helped make the most of the role of the other Bohemians. David Kempster’s Marcello came over as the lynchpin of the action. Kempster and Arden made the role of Marcello seem stronger and more important than is sometimes the case. The on-off romance of Marcello with Kate Valentine’s Musetta was a serious counter-poise to Rodolfo and Mimi rather than a side show. Valentine’s account of Musetta’s waltz in act 2 was a delight, but Arden developed it into a real dramatic moment as well. Kempster was serious and intense and you really felt for him.

One of the virtues of the production was that, at the end you were aware of the different characters reactions to Mimi’s death and came away with the feeling that none of their lives would quite be the same again.

Piotr Lempa was slightly dry voiced as Colline but his aria to his coat was touching. Daniel Grice had lovely swagger as Schaunard, complete with long hair and velvet suit. For once the hi-jinks in act 4 didn’t feel forced.

Martin Lloyd made a gross Alcindoro, perhaps too highly caricatured. Laurence Cole and Stephen Wells were the customs officials in act 3.

Simon Phillippo conducted with care and efficiency. His speeds kept things moving, without seeming rushed. But occasionally I wanted him to stretch things out, to dwell a little more. This is a case of styles of rubato, enjoying things without dwelling on them too much. But Phillippo drew fine playing from his orchestra and supported the singers admirably.

Arden has concentrated on the details in Puccini’s opera, telling the story with clarity and applying directorial gloss with subtlety. Perhaps there is scope for an edgier reading of the opera, but that would then not be the popular vehicle which the WNO needs for touring. Because this was popular, the house applauded warmly and I overheard many discussions about the opera as I walked to the station.

Robert Hugill

Click here for a photo gallery, together with video and audio presentations of this production.

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):