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

Hugo Wolf, Italienisches Liederbuch

Nationality is a complicated thing at the best of times. (At the worst of times: well, none of us needs reminding about that.) What, if anything, might it mean for Hugo Wolf’s Italian Songbook? Almost whatever you want it to mean, or not to mean.

San Jose’s Dutchman Treat

At my advanced age, I have now experienced ten different productions of Wagner’s The Flying Dutchman in my opera-going lifetime, but Opera San Jose’s just might be the finest.

Mortal Voices: the Academy of Ancient Music at Milton Court

The relationship between music and money is long-standing, complex and inextricable. In the Baroque era it was symbiotically advantageous.

I Puritani at Lyric Opera of Chicago

What better evocation of bel canto than an opera which uses the power of song to dispel madness and to reunite the heroine with her banished fiancé? Such is the final premise of Vincenzo Bellini’s I puritani, currently in performance at Lyric Opera of Chicago.

Iolanthe: English National Opera

The current government’s unfathomable handling of the Brexit negotiations might tempt one to conclude that the entire Conservative Party are living in the land of the fairies. In Gilbert & Sullivan’s 1882 operetta Iolanthe, the arcane and Arcadia really do conflate, and Cal McCrystal’s new production for English National Opera relishes this topsy-turvy world where peris consort with peri-wigs.

Il barbiere di Siviglia in Marseille

Any Laurent Pelly production is news, any role undertaken by soprano Stephanie d’Oustrac is news. Here’s the news from Marseille.

Riveting Maria de San Diego

As part of its continuing, adventurous “Detour” series, San Diego Opera mounted a deliciously moody, proudly pulsating, wholly evocative presentation of Astor Piazzolla’s “nuevo tango” opera, Maria de Buenos Aires.

La Walkyrie in Toulouse

The Nicolas Joel 1999 production of Die Walküre seen just now in Toulouse well upholds the Airbus city’s fame as Bayreuth-su-Garonne (the river that passes through this quite beautiful, rich city).

Barrie Kosky's Carmen at Covent Garden

Carmen is dead. Long live Carmen. In a sense, both Bizet’s opera and his gypsy diva have been ‘done to death’, but in this new production at the ROH (first seen at Frankfurt in 2016) Barrie Kosky attempts to find ways to breathe new life into the show and resurrect, quite literally, the eponymous temptress.

Candide at Arizona Opera

On Friday February 2, 2018, Arizona Opera presented Leonard Bernstein’s Candide to honor the 100th anniversary of the composer’s birth. Although all the music was Bernstein’s, the text was written and re-written by numerous authors including Lillian Hellman, Richard Wilbur, Stephen Sondheim, John La Touche, and Dorothy Parker, as well as the composer.

Satyagraha at English National Opera

The second of Philip Glass’s so-called 'profile' operas, Satyagraha is magnificent in ENO’s acclaimed staging, with a largely new cast and conductor bringing something very special to this seminal work.

Mahler Symphony no 8—Harding, Swedish Radio Symphony Orchestra

From the Berwaldhallen, Stockholm, a very interesting Mahler Symphony no 8 with Daniel Harding and the Swedish Radio Symphony Orchestra. The title "Symphony of a Thousand" was dreamed up by promoters trying to sell tickets, creating the myth that quantity matters more than quality. For many listeners, Mahler 8 is still a hard nut to crack, for many reasons, and the myth is part of the problem. Mahler 8 is so original that it defies easy categories.

Wigmore Hall Schubert Birthday—Angelika Kirchschlager

At the Wigmore Hall, Schubert's birthday is always celebrated in style. This year, Angelika Kirchschlager and Julius Drake, much loved Wigmore Hall audience favourites, did the honours, with a recital marking the climax of the two-year-long Complete Schubert Songs Series. The programme began with a birthday song, Namenstaglied, and ended with a farewell, Abschied von der Erde. Along the way, a traverse through some of Schubert's finest moments, highlighting different aspects of his song output : Schubert's life, in miniature.

Ilker Arcayürek at Wigmore Hall

The first thing that struck me in this Wigmore Hall recital was the palpable sincerity of Ilker Arcayürek’s artistry. Sincerity is not everything, of course; what we think of as such may even be carefully constructed artifice, although not, I think, here.

Lisette Oropesa sings at Tucson Desert Song Festival

On January 30, 2018, Arizona Opera and the Tucson Desert Song Festival presented a recital by lyric soprano Lisette Oropesa in the University of Arizona’s Holsclaw Hall. Looking like a high fashion model in her silver trimmed midnight-blue gown, the singer and pianist Michael Borowitz began their program with Pablo Luna’s Zarzuela aria, “De España Vengo.” (“I come from Spain”).

Schubert songs, part-songs and fragments: three young singers at the Wigmore Hall

Youth met experience for this penultimate instalment of the Wigmore Hall’s Schubert: The Complete Songs series, and the results were harmonious and happy. British soprano Harriet Burns, German tenor Ferdinand Keller and American baritone Harrison Hintzsche were supportively partnered by lieder ‘old-hand’, Graham Johnson, and we heard some well-known and less familiar songs in this warmly appreciated early-afternoon recital.

Brent Opera: Nabucco

Brent Opera’s Nabucco was a triumph in that it worked as a piece of music theatre against some odds, and was a good evening out.

LPO: Das Rheingold

It is, of course, quite an achievement in itself for a symphony orchestra to perform Das Rheingold or indeed any of the Ring dramas. It does not happen very often, not nearly so often as it should; for given Wagner’s crucial musico-historical position, this is music that should stand at the very centre of their repertoires – just as Beethoven should at the centre of opera orchestras’.

William Tell in Palermo

This was the infamous production that was booed to extinction at Covent Garden. Palermo’s Teatro Massimo now owns the production.

The Bandits in Rome

AKA I masnadieri, rare early Verdi, though not as rare as Alzira. In 1847 London’s Her Majesty’s Theatre  commissioned the newly famous Verdi to write this opera for the London debut of Swedish soprano Jenny Lind.

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):