12 Oct 2012
The Barber of Frankfurt
Frankfurt Opera’s adventurous season had a notable beginning with a luminous staging of Samuel Barber’s seldom heard Vanessa.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no less than seven concerts in this season’s NTR ZaterdagMatinee series feature works by Adams, including this concert version of his first opera, Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the Royal Concertgebouw, Daniele Gatti, came together for their first engagement in a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and Wiener Philharmoniker, to hear these three top orchestra perform their series programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.
One of Aidan Lang’s first initiatives as artistic director of Seattle Opera was to encourage his board to formulate a “mission statement” for the fifty-year old company. The document produced was clear, simple, and anodyne. Seattle Opera would aim above all to create work appealing both to the emotions and reason of the audience.
Contrary to Stolzi’s multidimensional Parsifal, Holten’s simple setting of Lohengrin felt timeless with its focus on the drama between characters. Premiering in 2012, nothing too flashy and with a clever twist,
Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner productions. This Fall, its productions of Philipp Stölzl's Parsifal and Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it comes down to last minute replacements, the casting is topnotch.
Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.
The Wigmore Hall complete Schubert song series continued with a recital by Georg Nigl and Andreas Staier. Staier's a pioneer, promoting the use of fortepiano in Schubert song. In Schubert's time, modern concert pianos didn't exist. Schubert and his contemporaries would have been familiar with a lighter, brighter sound. Over the last 30 years, we've come to better understand Schubert and his world through the insights Staier has given us. His many performances, frequently with Christoph Prégardien at the Wigmore Hall, have always been highlights.
Frankfurt Opera’s adventurous season had a notable beginning with a luminous staging of Samuel Barber’s seldom heard Vanessa.
Pride of place must surely be given to the meticulously modulated conducting by Jonathon Darlington, who coaxed highly detailed and rapturous playing from the pit. The overall momentum of the piece was beautifully paced, and the surging, churning orchestral climaxes were beautifully judged and wrenching in their impact. The bravura playing elicited by Maestro Darlington is all the more remarkable considering the somewhat dry acoustic of the house itself. The sensitive solo passages were also instrumental (pun intended) in partnering the singers and aiding them in crafting three-dimensional characterizations. And what a splendid group of vocalists they were!
Company member Jenny Carlstedt was absolutely lovely as the wronged niece Erika, deploying her well-schooled lyric mezzo with great musical and dramatic intelligence. Her melting rendition of “Must the Winter Come So Soon” early on in the piece set the bar very high and established the underlying melancholy that informs the entire work.
Maria Callas, having backed out of title role at the Metropolitan première (to be replaced by Eleanor Steber) sniffed something to the effect that “the opera should be called ‘Erika’.” And, indeed, the role is arguably the only wholly sympathetic character in an environment peopled by the opportunistic and the deluded. Ms. Carlstedt wrung every ounce of sympathy and pathos out of the role and the audience received her with unbridled enthusiasm at curtain call.
While Ms. Carlstedt may not have a large voice, it is so cleanly and clearly produced that she managed to not only float easily on the orchestral textures, but also ride every instrumental wave. She also has a superb sense of line and dramatic intent, and embodied a meaningful, simmering subtext that underscored Erika’s emotional roller coaster ride. From impressionable, naïve youth to cool, resigned maturity, Jenny took us on a riveting journey.
Charlotta Larsson as Vanessa was every inch the still glamorous, desperate dreamer, awaiting the return of her paramour (revealed as deceased), only to be confronted with his gold-digging son. Ms. Larsson has everything required for the role, except perhaps stature. The diminutive diva was the shortest person on stage, and her beautiful appearance seemed not much older than her niece. Still, the soprano dominated her every scene with a ripe, full-bodied instrument that had ample fire power and a gleaming presence as it soared above the staff. Charlotta not only spit out Vanessa’s many petulant recriminations with sassy abandon, but she successfully scaled back her volume and modulated her delivery to offer persuasive limpid singing in such passages as the memorable duet (”Love has a bitter core”).
Kurt Streit cut a good figure, if arguably just a bit (but only a bit) mature as Anatol. He is, of course, a noted Mozartian and it was in the parlando passages and more measured lyric outpourings that his pleasing tenor scored the best, which is to say exceedingly well, indeed. He has a secure technique and knows at all times how to channel his resources. In the enraptured high outbursts in the love duet, Mr. Streit chose to narrow and point the tone to provide carrying power, sacrificing some tonal beauty and spin, however, it has to be said that he made his effect. This was an assured performance from a seasoned veteran who knows his way around a stage. I do suggest that Kurt might tone down a bit of the faux-youthful ‘hail-fellow-well-met’ demeanor that he occasionally affects, since it has the unintended result of making Anatol appear somewhat ‘simple.’
Dietrich Volle, another company treasure, had a very good evening as the Old Doctor. His solid singing was always a pleasure and his sustained climactic high note in “Under the Willow Tree” was a force of nature: powerful, sustained, and buzzing with virile tone. Mr. Volle also managed to invest the part with sufficient self-effacing humor that it took away some of the self-pitying edge that can creep in. He was hampered a bit in his otherwise admirable undertaking by his accented English. In fact, of the entire cast only Mr. Streit displayed consistent, idiomatic pronunciation. I am not so terribly bothered by that except to wonder if such inaccuracy would be so blithely tolerated from international singers in German, Italian or French repertoire?
Helena Doese has a long history of notable successes with Frankfurt and the company now loyally signs her on for suitable character roles like the Old Baroness. Ms. Doese is another old pro who knows how to sustain a character and communicate truthfully and directly. It would be foolish to pretend that the voice is what it once was. The sheen and richness have largely been replaced by craft and cunning. But Helena manages to invest the vengeful caricature of a part with a degree of humanity which is no small feat. And although her voice is somewhat diffuse now, especially in the lower reaches, she nonetheless negotiates the vocal demands with pointed meaning.
Perhaps the biggest surprise was that young Björn Bürger could make such a memorable turn out of the throw-away part of the servant Nicholas. With his few lines, Mr. Bürger showed off a substantial, warm baritone. And his charismatic stage presence was put to good use with the briefest of scenes in which he dons a lady party guest’s fur (as he sings lovingly about it) and has a Marilyn Monroe girly moment, enjoying it perhaps just a bit too much. Inspired. Björn not only made the most of every opportunity, but left us wanting more, a mark of an artist of great promise. Michael Clark’s chorus was well-tutored and enlivened the party scene.
I am not sure which I liked more: Julia Müer’s stunning costumes, or Julia Müer’s stunning scenery. From Erika’s youthful polka-dotted day dress, to Vanessa’s outdoor play pants outfit to Anatol’s sweater vest to the sumptuous party gowns that seemed straight off a fashion runway, the attire was uniformly well-considered, inventive, and appropriate. For the set, Ms. Müer gave us an austere, moody environment. Stage right was filled with a large white drawing room with a main entrance in the right wall, a set of double doors upstage that opened to a warmer looking ballroom, and a large high spiral staircase left of center that seemed to reach to the heavens. A black grand piano was down center, mirrors were covered (as the script requires) and a plethora of pictures were hung with their faces to the wall.
Complementing this is a huge ice floe, filling stage left and threatening to break up even further and continue infringing on the domestic scene. This is a telling bit of artistry, the cracking icy surface mirrored in the characters’ ids and the whole effect brilliantly suggesting the isolation, physical and emotional, of the players. There were also several breath-taking effects, such as having Erika, at the end of Act One, taking down a picture and throwing it aside in disgust, and then having all the rest of the paintings suddenly fall off the wall to the floor to her (and our) astonishment. Having established that Erika “plays” the piano, after her miscarriage, she finished that scene in an Ingmar Bergman-like moment, by opening the lid and climbing into it, pulling it closed like a coffin. Chilling. As a bonus, Olaf Winter’s winning lighting design was another real asset to the total artistic collaboration of this production which originated at, and is shared with Malmö Opera.
It would be difficult to over-praise the contribution of director Katharina Thoma, for she has created a commendable sense of ensemble with her performers, and has fostered a focused unity of vision that is a joy to behold. From the moment the curtain rises, we know who these people are, and we are engaged by their needs. The blocking was meaningful, and at times much more. Witness the clever staging of Vanessa’s “Do Not Utter a Word.” The character cannot bear to look at her Prodigal Suitor, and to manage this believably Ms. Thoma positions Vanessa downstage of the entrance door that Anatol opens, allowing it to provide a natural separation with him upstage of it and her downstage.
Too, she has mysterious goings-on happening on the ice floes with character doubles. A youthful ‘Anatol’ sits on a shard of ice, brooding and smoking on occasion. Later, he discovers ‘Erika’ in the ravine as the plot narrates it. The off-stage church choir is a gathering assembled on the ice, for what? A funeral? A wedding? A fish boil? No matter, the imagery allows us to speculate, and without distracting us it adds layers to what could otherwise be a pretty straight-forward, and let’s face it, uninteresting story. Brava Katharina.
Frankfurt has assuredly made a compelling case that if “Vanessa” is treated to an apt and imaginative staging, wonderfully sung and resplendently played, well, there is life in the old girl yet.
Vanessa: Charlotta Larsson; Erika: Jenny Carlstedt; Old Baroness: Helena Döse; Anatol: Kurt Streit; Old Doctor: Dietrich Volle; Nicholas: Björn Bürger; Conductor: Jonathon Darlington; Director: Katharina Thoma; Set and Costume Design: Julia Müer; Lighting Design: Olaf Winter; Chorus Master: Michael Clark