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.
Opera Philadelphia deserves congratulations on yet another coup. The company co-commissioned Cold Mountain, an opera by Jennifer Higdon based on Gene Scheer’s adaptation of Charles Frazier’s celebrated Civil War epic.
For their first of two recitals at the Wigmore Hall, Christian Gerhaher and Gerold Huber devised an interesting programme - popular Schubert mixed with songs by Wolfgang Rihm and by Huber himself.
There are not many opera productions that you would cross oceans to see. Graham Vick’s Götterdämmerung in Sicily however compelled such a voyage.
Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.
Robert Ashley’s opera-novel Quicksand makes for a novel experience
One of the leading Russian composers of his generation, Alexander Raskatov’s reputation in the UK and western Europe derives from several, recent large-scale compositions, such as his reconstruction of Alfred Schnittke’s Ninth Symphony from a barely legible manuscript (the work was first performed in 2007 in the Dresden Frauenkirche by the Dresden Philharmonic under Dennis Russell Davies), and his 2010 opera A Dog’s Heart, based on Mikhail Bulgakov’s satire (which was directed by Simon McBurney at English National Opera in 2010, following the opera’s premiere at Netherlands Opera earlier that year).
I’m not sure that St John’s Smith Square was the most appropriate venue for Opera Danube’s latest production: Jacques Offenbach’s satirical frolic, Orpheus in the Underworld.
This nasty little opera evening in Lyon lived up to the opera’s initial reputation as pure pornophony. This is the erotic Shostakovich of the D minor cello sonata, it is the sarcastic and complicated Shostakovich of The Nose . . .
During December 2015 and presently in January Lyric Opera of Chicago has featured the world premiere of the opera Bel Canto, with music by Jimmy López and libretto by Nilo Cruz, based on the novel by Ann Patchett.
Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.
The title role is a deciding factor in Madama Butterfly. Despite a last-minute conductor cancellation, last Saturday’s concert performance at the Concertgebouw was a resounding success, thanks to Lianna Haroutounian’s opulent, heart-stealing Cio-Cio-San.
With this performance of vocal and instrumental works composed by the 10-year-old Mozart and his contemporaries during 1766, Classical Opera entered the second year of their 27-year project, MOZART 250, which is designed to ‘contextualise the development and influences of [sic] the composer’s artistic personality’ and, more audaciously, to ‘follow the path that subsequently led to some of the greatest cornerstones of our civilisation’.
Luca Pisaroni and Wolfram Rieger were due to give the latest installment in the Wigmore Hall's complete Schubert songs series, but both had to cancel at short notice. Fortunately, the Wigmore Hall rises to such contingencies, and gave us Benjamin Appl and Jonathan Ware. Since there's a huge buzz about Appl, this was an opportunity to hear more of what he can do.
The phrase ‘Sunday afternoon concert’ may suggest light, post-prandial entertainment, but soprano Gemma Lois Summerfield and her accompanist, Simon Lepper, swept away any such conceptions in this demanding programme at St. John’s Smith Square.
When, o when, will someone put Peter Sellars and his compendium of clichés out of our misery?
Having recently followed some by-ways through the music of Purcell, Monteverdi and Cavalli, L’Arpeggiata turned the spotlight on traditional folk music in this characteristically vibrant and high-spirited performance at the Wigmore Hall.
Edward Gardner brought all his experience as a choral and opera conductor to bear in this stirring performance of Michael Tippett’s A Child of Our Time at the Barbican Hall, with a fine cast of soloists, the BBC Symphony Orchestra and BBC Symphony Chorus.
‘Apt for voices or viols’: eager to maximise sales among the domestic market in Elizabethan England, publishers emphasised that the music contained in collections such as Thomas Morley’s First Book of Madrigals to Four Voices of 1594 was suitable for performance by any combination of singers and players.
It was a single title but a double bill and there was far more happening than Gordon Getty and Claude Debussy. Starting with Edgar Allen Poe.
For its latest production of the current season Lyric Opera of Chicago is presenting Franz Lehár’s The Merry Widow (Die lustige Witwe) featuring Renée Fleming /Nicole Cabell as the widow Hanna Glawari and Thomas Hampson as Count Danilo Danilovich.
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