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

An English Winter Journey

Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.

History Repeating Itself: Prokofiev’s Semyon Kotko, Amsterdam Concertgebouw

A historical afternoon at the NTR Saturday Matinee occurred with an epic concert version of Prokofiev’s Soviet Opera Semyon Kotko.

L’amour de loin at the Metropolitan Opera

Opening night at the Metropolitan is a gleeful occasion even when the composer is long gone, but December 1st was an opening for a living composer who has been making waves around the world and is, gasp, a woman — the second woman composer ever to have an opera presented at the Met.

La finta giardiniera at the Royal College of Music

For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.

Lust for Revenge: Barenboim and Herlitzius fire up Strauss’s Elektra in Berlin

As the German language describes so beautifully, a “Schrei aus tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra from the depths of her soul.

Semyon Bychkov heading to NYC and DC with Glanert and Mahler

Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.

Lost Stravinsky re-united with Rimsky-Korsakov, Gergiev, Mariinsky

Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.

Philippe Jaroussky at the Wigmore Hall: Baroque cantatas by Telemann and J.S.Bach

On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.

The new Queen of the City of Birmingham Symphony Orchestra

Here is one of the next new great conductors. That’s a bold statement, but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment “is the biggest news in the conducting world.” But Ms. Mirga Gražinytė-Tyla will be getting a lot of weight on her shoulders.

Falstaff at Manitoba Opera

Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.

Gothic Schubert : Wigmore Hall, London

Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.

Rusalka, AZ Opera

On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.

First new Ring Cycle in 40 Years, Leipzig

Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.

San Jose’s Beta-Carotene Rich Barber

You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.

Manon Lescaut at Covent Garden

If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.

Fierce in War, dazzling in Peace: Joyce DiDonato at the Concertgebouw

Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.

Simplicius Simplicissimus

I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.

Lucia di Lammermoor at Lyric Opera of Chicago

For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.

Akhnaten Offers L A Operagoers Both Ear and Eye Candy

Akhnaten is the third in composer Philip Glass’s trilogy of operas about people who have made important contributions to society: Albert Einstein in science, Mahatma Gandhi in politics, and Akhnaten in religion. Glass’s three operas are: Einstein on the Beach, Satyagraha, and Akhnaten.

Shakespeare in the Late Baroque - Bampton Classical Opera

Shakespeare re-imagined for the very Late Baroque, with Bampton Classical Opera at St John's Smith Square. "Shakespeare, Shakespeare, Shakespeare....the God of Our Idolatory". So wrote David Garrick in his Ode to Shakespeare (1759) through which the actor and showman marketed Shakespeare to new audiences, fanning the flames of "Bardolatory". All Europe was soon caught up in the frenzy.

OPERA TODAY ARCHIVES »

Performances

Esa-Pekka Salonen [Photo by Clive Barda courtesy of Fidelio Arts]
14 Nov 2012

Wozzeck at UC Berkeley

At this famous bastion of intellect the biggest drama was the parking. Though the football stadium may have been stuffed, Zellerbach Hall was not.

Wozzeck at UC Berkeley

A review by Michael Milenski

Above: Esa-Pekka Salonen [Photo by Clive Barda courtesy of Fidelio Arts]

 

An appearance by London’s famed Philharmonia orchestra starring in one of opera’s most riveting theater pieces (an avowed intellectual masterpiece as well) might well have generated sufficient advance excitement to fill the hall. Sad to say, come to pass, not a lot of excitement was created in the hall either.

The Philharmonia’s claim to fame is its conductorial pedigree more so than its sound — Otto Klemperer, Herbert von Karijan, Ricardo Muti, Giuseppe Sinopoli, Christoph von Dohnányi. And now Finnish conductor Esa-Pekka Salonen, well known locally as one of the L.A. Phil’s wunderkind (with Rattle and Dudamel).

The no-longer-young maestro did deliver splendidly on what we came for — the three stupendous B’s after Marie is murdered grew to unequaled quivering force, and the masterful, musically riveting Invention in D minor led to the superbly delivered, tonally pure “hop hop” repetitions that end the opera (how did excellent boy soprano Zachary Mamis so securely find those incredibly high pitches?). All these were wonderful, uniquely Salonen moments.

The maestro made a good case for Wozzeck as an orchestral showpiece, marking solid beats to expose the shape and rhythms of the abstract structures that construct acts I and II, reserving his serpentine hand movement to motivate elaborations of color in the too few moments of orchestral solo. As Berg’s score is cerebral Salonen’s delivery too was cerebral, may we say cold, even uninvolved in the opera’s dramatic exposition.

Berg’s score, an opera, is far more than pure music. It is the physical atmospheres in which the Wozzeck tragedy unfolds. Without Berg’s prescribed physical production (sets, lights, costumes) an orchestra acting alone takes on the enormous burden of creating complex atmospheres. This began to occur somewhat in the second act in the public scenes, and took hold in the third act when Berg’s more formal structures gave way to free musical invention. Here Salonen followed suit with a freer dramatic involvement.

The Philharmonia Orchestra is known for the warmth of its strings, an attribute that is not really present in the Wozzeck atonalities. Yet the strings of this orchestra made a startling showing in projecting the nervous attitudes that Berg created and the still youthful maestro elicited. The youth (relative) of the players was evident, dominated by the nearly electric presence of 30-year-old German concert master Zsolt-Tihamér Visontay.

Spreading the Philarmonia Orchestra on the stage rather than, let’s say, cramming Berg’s sizable orchestral requirements into a pit engendered a clarity of instrumental tone, and a transparency of sound that exacerbated Salonen’s coldness. At the same time however it redeemed the coldness into a musical and instrumental purity that made this very fine orchestra great, and made it the star of the show, as intended.

The assembled singers included several distinguished artists. All were quite capable of fulfilling their role, here primarily to fill the musical space Berg’s score demands. With no overview of the opera other than that imposed by the maestro it became however a mere reading of the text. Then there was the unfortunate idea that some staging was needed, when in fact a purely concert performance would have complemented the performance by the orchestra.

The singers apparently attempted to move and emote as they saw fit. This resulted in some strange solutions to entrances and exits, motivations and discoveries. Unfortunately this British bred Wozzeck did not attempt to compete with the semi-staged operas recently attempted by the L.A. and N.Y. Philharmonics, endeavors that sensibly enough involved opera directors. And by the way when are opera companies going to start staging symphonies?

This Wozzeck in Berkeley was the full musical nine-yards. The UC Berkeley Chamber Chorus acquitted itself handsomely (a few missed pitches), the Piedmont East Bay Children’s Choirs marched on and did its duty, and members of the UC Berkeley Symphony well managed the off-stage banda and most of the on-stage banda (the clarinet player was from the Philharmonia).

Michael Milenski


Cast and Production

Wozzeck: Johan Reuter; Marie: Angela Denoke; Drum Major: Hubert Francis; Andres: Joshua Ellicott; Captain: Peter Hoare; Doctor: Tijl Faveyts; First Apprentice Henry Waddington; Second Apprentice: Eddie Wade; Idiot: Harry Nicoll; Margret: Anna Burford; Marie’s Child: Zachary Mamis. UC Berkeley Chamber Chorus. Piedmont East Bay Children’s Choir. Members of the UC Berkeley Symphony Orchestra. The Philharmonia Orchestra. Conductor: Esa-Pekka Salonen. Zellerbach Hall, Berkeley, California. November 10, 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):