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

Mascagni's Isabeau at Opera Holland Park: in conversation with David Butt Philip

Opera directors are used to thinking their way out of theatrical, dramaturgical and musico-dramatic conundrums, but one of the more unusual challenges must be how to stage the spectacle of a young princess’s naked horseback-ride through the streets of a city.

Grange Park Opera travels to America

The Italian censors forced Giuseppe Verdi and his librettist Antonio Somma to relocate their operatic drama of the murder of the Swedish King Gustav III to Boston, demote the monarch to state governor and rename him Riccardo, and for their production of Un ballo in maschera at Grange Park Opera, director Stephen Medcalf and designer Jamie Vartan have left the ‘ruler’ in his censorial exile.

Puccini’s La bohème at The Royal Opera House

When I reviewed Covent Garden’s Tosca back in January, I came very close to suggesting that we might be entering a period of crisis in casting the great Puccini operas. Fast forward six months, and what a world of difference!

Na’ama Zisser's Mamzer Bastard (world premiere)

Let me begin, like an undergraduate unsure quite what to say at the beginning of an essay: there were many reasons to admire the first performance of Na’ama Zisser’s opera, Mamzer Bastard, a co-commission from the Royal Opera and the Guildhall.

Les Arts Florissants : An English Garden, Barbican London

At the Barbican, London, Les Arts Florissants conducted by Paul Agnew, with soloists of Le Jardin de Voix in "An English Garden" a semi-staged programme of English baroque.

Die Walküre in San Francisco

The hero Siegfried in utero, Siegmund dead, Wotan humiliated, Brünnhilde asleep, San Francisco’s Ring ripped relentlessly into the shredded emotional lives of its gods and mortals. Conductor Donald Runnicles laid bare Richard Wagner’s score in its most heroic and in its most personal revelations, in their intimacy and in their exploding release.

Das Rheingold in San Francisco

Alberich’s ring forged, the gods moved into Valhalla, Loge’s Bic flicked, Wagner’s cumbersome nineteenth century mythology began unfolding last night here in Bayreuth-by-the-Bay.

ENO's Acis and Galatea at Lilian Baylis House

The shepherds and nymphs are at play! It’s end-of-the-year office-party time in Elysium. The bean-bags, balloons and banners - ‘Work Hard, Play Harder’ - invite the weary workers of Mountain Media to let their hair down, and enter the ‘Groves of Delights and Crystal Fountains’.

Lohengrin at the Royal Opera House

Since returning to London in January, I have been heartened by much of what I have seen - and indeed heard - from the Royal Opera.

Stéphane Degout and Simon Lepper

Another wonderful Wigmore song recital: this time from Stéphane Degout – recently shining in George Benjamin's new operatic masterpiece,

An excellent La finta semplice from Classical Opera

‘How beautiful it is to love! But even more beautiful is freedom!’ The opening lines of the libretto of Mozart’s La finta semplice are as contradictory as the unfolding tale is ridiculous. Either that master of comedy, Carlo Goldoni, was having an off-day when he penned the text - which was performed during the Carnival of 1764 in the Teatro Giustiniani di S. Moisè in Venice with music by Salvatore Perillo - or Marco Coltellini, the poeta cesareo who was entertaining the Viennese aristocracy in 1768, took unfortunate liberties with poetry and plot.

Pan-European Orpheus : Julian Prégardien

"Orpheus I am!" - An unusual but very well chosen collection of songs, arias and madrigals from the 17th century, featuring Julian Prégardien and Teatro del mondo. Devised by Andreas Küppers, this collection crosses boundaries demonstrating how Italian, German, French and English contemporaries responded to the legend of Orpheus and Eurydice.

Whatever Love Is: The Prince Consort at Wigmore Hall

‘We love singing songs, telling stories …’ profess The Prince Consort on their website, and this carefully curated programme at Wigmore Hall perfectly embodied this passion, as Artistic Director and pianist Alisdair Hogarth was joined by tenor Andrew Staples (the Consort’s Creative Director), Verity Wingate (soprano) and poet Laura Mucha to reflect on ‘whatever love is’.

Bryn Terfel's magnetic Mephisto in Amsterdam

It had been a while since Bryn Terfel sang a complete opera role in Amsterdam. Back in 2002 his larger-than-life Doctor Dulcamara hijacked the stage of what was then De Nederlandse Opera, now Dutch National Opera.

Laci Boldemann’s Opera Black Is White, Said the Emperor

We normally think of operas as being serious or comical. But a number of operas-some familiar, others forgotten-are neither of these. Instead, they are fantastical, dealing with such things as the fairy world and sorcerers, or with the world of dreams.

A volcanic Elektra by the Netherlands Radio Philharmonic

“There are no gods in heaven!” sings Elektra just before her brother Orest kills their mother. In the Greek plays about the cursed House of Atreus the Olympian gods command the banished Orestes to return home and avenge his father Agamemnon’s murder at the hands of his wife Clytemnestra. He dispatches both her and her lover Aegisthus.

Così fan tutte: Opera Holland Park

Absence makes the heart grow fonder; or does it? In Così fan tutte, who knows? Or rather, what could such a question even mean?

The poignancy of triviality: Garsington Opera's Capriccio

“Wort oder Ton?” asks Richard Strauss’s final opera, Capriccio. The Countess answers with a question of her own, at the close of this self-consciously self-reflective Konversationstück für Musik: “Gibt es einen, der nicht trivail ist?” (“Is there any ending that isn’t trivial?”)

Netia Jones' new Die Zauberflöte opens Garsington Opera's 2018 season

“These portals, these columns prove/that wisdom, industry and art reside here.” So says Tamino, as he gazes up at the three imposing doors in the centre of Netia Jones’ replica of the 18th-century Wormsley Park House - in the grounds of which Garsington Opera’s ‘floating’ Pavilion makes its home each summer.

Feverish love at Opera Holland Park: a fine La traviata opens the 2018 season

If there were any doubts that it was soon to be curtains for Verdi’s titular, tubercular heroine then the tortured gasps of laboured, languishing breath which preceded Rodula Gaitanou’s new production of La traviata for Opera Holland Park would have swiftly served to dispel them.

OPERA TODAY ARCHIVES »

Reviews

04 Oct 2012

Martinů : Julietta, ENO

The ENO gave the British premiere of Bohuslav Martinů's Julietta many years ago, so this new production was eagerly awaited. But what will audiences new to Martinů get from this production? It's a myth that the English language makes opera more accessible. That just means audiences focus on words, rather than really listening or understanding.

Bohuslav Martinů - Julietta

Julietta : Julia Sporsén, Michel : Peter Hoare, Police officer/Clerk/Forest Warden : Jeffrey Lloyd-Roberts, Man in a helmet / Seller of memories / Convict : Andrew Shore, Man at window / Old man Youth / Beggar : Henry Waddington, Little arab / First gentleman / Errand-boy : Emilie Renard, Old arab / Grandfather / Old sailor : Gwynne Howell, Birdseller / Fortune teller : Susan Bickley, Fishmonger / Old woman / Grandmother: Valerie Reid, Young sailor : Anthony Gregory, 2nd Gentleman : Clare Presland, 3rd Gentleman : Samantha Price, Conductor : Edward Gardner, Director : Richard Jones, Designer : Antony McDonald, Associate Set Designer : Ricardo Pardo, Lighting Designer : Matthew Richardson, Choreographer : Philippe Giraudeau

English National Opera, The Coliseum, London, 17th September 2012

 

Martinů's Julietta is a highly conceptual opera, with deliberate ambiguities and mind games. Just as in dreams, there are clues and contradictions. If ever there was an opera where listeners had to keep alert and pay attention, this is it. The opera predicates on dream states, but sleepwalking through Martinů's Julietta isn't wise.

The production dates from 2002 when it was first seen in Paris. The Overture opens to images of sleeping figures floating in space (or amniotic fluid). One figure emerges, Michel Lepic (Peter Hoare), bookseller by day, dreamer by night. The main set is a giant mock up of an accordion, which also serves to suggest the walls of a house from whose windows various characters appear at critcial points in the opera. Musically, this is perceptive, for Martinů writes an evocative solo for accordion into the first act, and the mechanics of the instrument suggest "lungs" or breathing. Accordions also evoke folk music, and thus memories of the past. A horn player walks round, his music evoking other, more sophisticated memories, offereing hope to those who have lost the past.

In this strange dream village, no-one can remember anything of the past. Nothing connects. If this is a landlocked European village, why is there a ship? Where do the Old Arab (Gwynne Howell) and Young Arab (Emilie Renard) fit in? The implication is that without memory, we're eternally adrift. It is significant that Martinů returned to Julietta at the end of his life, after decades of wandering through Europe and the United States.This gives the opera emotional depth, and is important to interpretation. As a musician, Martinů was sensitive to the power of music, where small snippets awake vast rivers of memory, so the many references to other music are deliberate. Even if some are barely more than wisps, their embedded presence is part of the meaning.

The giant accordion turns and moves, but within the orchestra Martinů writes fragments for solo instruments or small units like 3 oboes. The vast world theatre, and the tiny individual. This theme runs through the opera on several levels. Michel is alone in the busy village, and in the Central Office of Dreams he can't beat the bureaucratic machine. In the last act, the Accorion turns over so it resembles a giant, hideous skull, its keys reesembling the keys of a piano, the working tool of most composers.

Apart from Michel himself, the characters appear in different forms, and the Three Gentlemen in Frock Coats (as described in the score) sing in unison. Even Julietta (Julia Sporsén) is illusory, and needs to create an articial past through the postcards the Seller of Memories (Andrew Shore) peddles to the unwary. Gradually Michel is drawn deeper into delusion. Who shoots Julietta? Did she, can she die? It doesn't matter. People in this cosmos have no attention span. But as an audience, we do, which is why small details count, however elusive.

Anarchic as dreams are, performance should be rigorous. Martinů writes lusciously lyrical figures which seduce the ear, magically. But the Third Act tells us quite categorically that one cannot escape into the luxury of reverie. Beneath this lovely score lies a bedrock of anxiety. Is Michel all that different from the other inhabitants of this dream? He sells books (fiction?) after all. The Convict and the Blind Beggar are fixated by the same dream that takes the form of a lovely, elusive woman. Tension, anxiety and claustrophobia are fundamental to this music. Sharp staccatos, like the ticking of a clock, alarm bells. Yet at the ENO this sense of impending cataclysm was defused. Edward Gardner's Julietta is a pretty, light hearted reverie, not nightmare. The defining extremes in this core are smoothed over, so the firm structure of the opera becomes fragmented.

The singers, even the better ones like Hoare, Shore, Howell, Susan Bickley, Henry Waddington, Emilie Renard and Jeffrey Lloyd Roberts are solid rather than haunting. Martinů 's Julietta is not easy to stage but ironically the visuals (directed by Richard Jones, designed by Antony McDonald) were far more effective than the performance. We need to see this production because it's historic, and good. But anyone who wants to hear what the opera really should sound like should stick to the recordings. Krombholc (1964) is top recommendation, Mackerras conducts only fragments. When the complete new edition, recorded by Jiří Bělohlávek in 2009 is released, that will be the one to get. I've been listening to an aircheck of the broadcast. Even on an amateur quality tape, the true spirit of Martinů 's Julietta shines through, magical and manic in turns. There have been several stagings of Martinů's operas in recent years, and of course the full symphonic cycle, but Julietta is outstanding. This ENO performance doesn't begin to reach those heights. I can't blame anyone thinking that Martinů 's Julietta is mediocre if they haven't heard what it can sound like.

Anne Ozorio

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):