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.
Published in 1855 as an entertainment for his two daughters, William Makepeace Thackeray’s The Rose and the Ring is a burlesque fairy-tale whose plot — to the author’s wilful delight, perhaps — defies summation and elucidation.
What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.
I suspect that many of those at the Wigmore Hall for The King’s Consort’s performance of the La Senna festeggiante (The Rejoicing Seine) were lured by the cachet of ‘Antonio Vivaldi’ and further enticed by the notion of a lover’s serenade at which the generic term ‘serenata’ seems to hint.
Having enjoyed superb singing by a young cast of soloists in Classical Opera’s UK premiere of Jommelli’s Il Vogoleso the previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final at the Wigmore Hall confirmed the strength and depth of talent possessed by the young singers studying in and emerging from our academies and conservatoires.
On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.
Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.
London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.
Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.
On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.
New Co-Production Tristan und Isolde with Metropolitan: Simon Rattle and Westbroek electrify Treliński’s Opera-Noir.
In an operatic world crowded with sure-fire bread and butter repertoire, Opera San Jose has boldly chosen to lavish a new production on a dark horse, Andre Previn’s A Streetcar Named Desire.
Choral symphony, oratorio, symphonic poem — Berlioz’s Roméo et Juliette does not fit into any mould. It has the potential to work as an opera-ballet, but incoherent storytelling and uninspired conducting undermined this production.
When Kasper Holten took the precaution of pre-warning ticket-holders that the Royal Opera House’s new production of Lucia di Lammermoor featured scene portraying ‘sexual acts’ and ‘violence’, one assumed that he was aiming to avert a re-run of the jeering and hectoring that accompanied last season’s Guillaume Tell. He even went so far as to offer concerned patrons a refund.
These are five very different reviews by students at the University of Maryland on its Opera Studio production of Regina — an interesting, informative and entertaining read . . .
‘Remember me, the one who is Pia;/ Siena made me, Maremma undid me.’ The speaker is Pia de’ Tolomei. She appears in a brief episode of Dante’s Divine Comedy (Purgatorio V, 130-136) which was the source for Gaetano Donizetti’s Pia de’ Tolomei - by way of Bartolomeo Sestini’s verse-novella of 1825.
"The large measure of formalism which forms the basis of De Materie does not in itself offer any guarantee that the work will be beautiful," says Dutch composer Louis Andriessen of his four-movement opera.
On April 1, 2016, Arizona Opera presented Falstaff by Giuseppe Verdi (1813-1901) and Arrigo Boito (1842-1918) in Phoenix. Although Boito based most of his libretto on Shakespeare’s The Merry Wives of Windsor, he used material from Henry IV as well. Verdi wrote the music when he was close to the age of eighty. He was concerned about his ability at that advanced age, but he was immensely pleased with Boito’s text and decided to compose his second comedy, despite the fact that his first, Un giorno di regno, had not been successful.
The brand new SF Opera Lab opened last month with artist William Kentridge’s staged Schubert Winterreise. Its second production just now, Svadba-Wedding — an a cappella opera for six female voices — unabashedly exposes the space in a different, non-theatrical configuration.
One may think of Tosca as the most Roman of all operas, after all it has been performed at the Teatro Costanzi (Rome’s opera house) well over a thousand times since 1900. Though equally, maybe even more Roman is Hector Berlioz’ Benvenuto Cellini that has had only a dozen or so performances in Rome since 1838.
Roll up! A new opera by Handel is to be performed, L’Elpidia overo li rivali generosi. It is based upon a libretto by Apostolo Zeno with music by Leonardo Vinci - excepting a couple of arias by Giuseppe Orlandini and, additionally, two from Antonio Lotti’s Teofane (which the star bass, Giuseppe Maria Boschi , on bringing with him from the Dresden production of 1719).
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