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

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.

Philadelphia: Putting On Great Opera Can Be Murder

Composer Kevin Puts and librettist Mark Campbell have gifted Opera Philadelphia (and by extension, the world) with a crackling and melodious new stage piece, Elizabeth Cree.

Mansfield Park at The Grange

In her 200th anniversary year, in the county of her birth and in which she spent much of her life, and two days after she became the first female writer to feature on a banknote - the new polymer £10 note - Jane Austen’s Mansfield Park made a timely appearance, in operatic form, at The Grange in Hampshire.

Elektra in San Francisco

Among the myriad of artistic innovation during the Kurt Herbert Adler era at San Francisco Opera was the expansion of the War Memorial Opera House pit. Thus there could be 100 players in the pit for this current edition of Strauss’ beloved opera, Elektra!

Turandot in San Francisco

Mega famous L.A. artist David Hockney is no stranger at San Francisco Opera. Of his six designs for opera only the Met’s Parade and Covent Garden’s Die Frau ohne Schatten have not found their way onto the War Memorial stage.

The School of Jealousy: Bampton Classical Opera bring Salieri to London

In addition to fond memories of previous beguiling productions, I had two specific reasons for eagerly anticipating this annual visit by Bampton Classical Opera to St John’s Smith Square. First, it offered the chance to enjoy again the tunefulness and wit of Salieri’s dramma giocoso, La scuola de’ gelosi (The School of Jealousy), which I’d seen the company perform so stylishly at Bampton in July.

Richard Jones' new La bohème opens ROH season

There was a decided nip in the air as I made my way to the opening night of the Royal Opera House’s 2017/18 season, eagerly anticipating the House’s first new production of La bohème for over forty years. But, inside the theatre in took just a few moments of magic for director Richard Jones and his designer, Stewart Laing, to convince me that I had left autumnal London far behind.

Robin Tritschler and Julius Drake open
Wigmore Hall's 2017/18 season

It must be a Director’s nightmare. After all the months of planning, co-ordinating and facilitating, you are approaching the opening night of a new concert season, at which one of the world’s leading baritones is due to perform, accompanied by a pianist who is one of the world’s leading chamber musicians. And, then, appendicitis strikes. You have 24 hours to find a replacement vocal soloist or else the expectant patrons will be disappointed.

The Opera Box at the Brunel Museum

The courtly palace may have been opera’s first home but nowadays it gets out and about, popping up in tram-sheds, car-parks, night-clubs, on the beach, even under canal bridges. So, I wasn’t that surprised to find myself following The Opera Box down the shaft of Isambard Kingdom Brunel’s Thames Tunnel at Rotherhithe for a double bill which brought together the gothic and the farcical.

Proms at Wiltons: Eight Songs for a Mad King

It’s hard to imagine that Peter Maxwell Davies’ dramatic monologue, Eight Songs for a Mad King, can bear, or needs, any further contextualisation or intensification, so traumatic is its depiction - part public history, part private drama - of the descent into madness of King George III. It is a painful exposure of the fracture which separates the Sovereign King from the human mortal.

Prokofiev: Cantata for the 20th Anniversary of the October Revolution: Gergiev, Mariinsky

Sergei Prokofiev's Cantata for the Twentieth Anniversary of the October Revolution, Op 74, with Valery Gergiev conducting the Mariinsky Orchestra and Chorus. One Day That Shook the World to borrow the subtitle from Sergei Eisenstein's epic film October : Ten Days that Shook the World.

OPERA TODAY ARCHIVES »

Performances

Petra Lang as Ortrud and Gerd Grochowski as Friedrich von Telramund [Photo by Cory Weaver courtesy of San Francisco Opera]
27 Oct 2012

Lohengrin in San Francisco

Exquisite pianissimos, sumptuous climaxes, gigantic fortes, insistent horns, sugary winds, tremulous brass, blasting trumpets, whispering strings, pulsating oboes, more gigantic fortes, even more sumptuous climaxes.

Lohengrin in San Francisco

A review by Michael Milenski

Above: Petra Lang as Ortrud and Gerd Grochowski as Friedrich von Telramund

Photos by Cory Weaver courtesy of San Francisco Opera

 

Lohengrin like never before. It was an orgy of orchestral colors, an adventure in sonic discovery, the absolute summit of virtuosic orchestral delivery. Maestro Nicola Luisotti attacked and conquered Lohengrin.

There. That’s done. What’s left now that it’s all over?

No longer mythic Germanic lore, this tale seemed to be an episode from, say, Ceausescu’s already mythic Romania, where books were torn from library shelves to burn to make electricity to light the libraries. Though in the emptied library in which all this took magic took place there was not enough juice to illuminate all the grandiose (Romanian socialist moderne) light sources. Well, save in the last scene when Lohengrin finally was going to save the masses. But bowed out.

The masses were magnificent socialists, eighty mighty workers (plus a few sword and standard bearers) who whispered in shimmering sounds and roared in full, transparent tones. But with such idealistic and obviously pleasurable glory in their sonority, and willing unity in their regimentation (yes, this multitude of virtuosic choristers was happily organized in lines and blocks) that they hardly needed to be saved from such perfection — to cede such artistry to mere Western materialism would be tragic indeed.

Meanwhile Icelandic bass Kristinn Sigmundsson in socialist general regalia was instructed to walk downstage center and be the embattled king Heinrich. Mr. Sigmundsson, once an estimable artist, here was perfect as crumbling, ineffective power. Baritone Brian Mulligan, a San Francisco Opera fixture, was Heinrich’s prissy acolyte, a welcomed vocal contrast to his superior. Mr. Mulligan is a richly voiced singer who complemented the maestro’s musical textures while overwhelming the import of this mere herald.

American tenor Brandon Jovanovich was the Lohengrin, a role debut. He apparently has a new voice teacher as the perfectly reasonable tenor we heard a few years ago as Luigi in Il Tabarro has been transformed into a trumpet. While he has not yet mastered the subtlety of tone of a fine trumpeter he does have a surprising variety of volume if not color, though his first and last words in the opera were delivered in a tentative half voice that was cause for concern. Even with its moments of real beauty the sharpness of his tone worked with the costuming of this production to make him look and sound gawky. Though this maybe helped establish the assumed caricatural intent of this conception of Lohengrin.

08--Lohengrin.pngBrandon Jovanovich as Lohengrin and Camilla Nylund as Elsa von Brabant

Of the five principals the Elsa of Finnish soprano Camilla Nylund realized the most successful character. Elsa herself is a lost soul, and Mlle. Nylund though looking like a well-kept Romanian apparatchik had no idea how to be one. The purity of her voice and the innocence of her presence served her well, though in the bigger moments her voice could not ride the the maestro’s mighty crests, as could, for example, the out-of-scale voice of Mr. Jovanovich.

German bass-baritone Gerd Grochowski seemed over parted as Telramund, diminishing the stature of evil in Wagner’s struggle to overcome baser levels of humanity. Mr. Grochowski’s fine baritone and interesting persona are more at home in roles that are more lyric and perhaps more complex psychologically. He lacks the inherent vocal color and physical force to personify an uncontrolled thirst for power, willing to say or do anything to get it. Reduced to a whimpering wimp in this production there was little for all those arcane powers of the Holy Grail to overcome.

Joining her homeless husband as Ortrud, the bag lady was German mezzo Petra Lang. Mme. Lang did not seem to be in good voice, her final curse thinly delivered, again underlining the opera’s need to endow evil with enough stature to be worth overcoming. As it was the famous pollution of socialist industry managed to create quite atmospheric lighting for Ortrud’s scenes brainwashing Telramund and deceiving Elsa, convincingly delivered by Mme. Lang.

06--Lohengrin.pngA scene from Act I

The production by British director Daniel Slater and British designer Robert Innes Hopkins is from Geneva (2008) and was already in close-by Houston (2009). It apparently has the intention to remove all magic from Wagner’s tale where swans ferry supernatural knights back and forth from an imaginary mountain. The musical moments for these arrivals and departures are truly momentous, even in ordinary circumstances, but here the workers and apparatchiks stare always forward only to discover and not seem to care that the bus terminal was behind them.

The production could not support the musical values imposed by Mo. Luisotti. Magic, and a lot of it was sorely needed to give place and meaning to this mountain of sound.

Michael Milenski


Program

Lohengrin: Brandon Jovanovich; Elsa von Brabant: Camilla Nylund; Ortrud: Petra Lang; Friedrich von Telramund: Gerd Grochowski; Heinrich der Vogler: Kristinn Sigmundsson; King’s Herald: Brian Mulligan. San Francisco Opera Chorus and Orchestra. Conductor: Nicola Luisotti; Stage Director: Daniel Slater; Production Designer: Robert Innes Hopkins; Lighting Designer: Simon Mills. War Memorial Opera House, October 24, 2012.

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):