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 Reviews

Bartoli a dream Cenerentola in Amsterdam

With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.

Winterreise : a parallel journey

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.

Anna Bolena in Lisbon

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.

Oh, What a Night in San Jose

It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.

Billy Budd in Madrid

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.

A riveting Nixon in China at the Concertgebouw

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.

English song: shadows and reflections

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.

A charming Pirates of Penzance revival at ENO

'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.

A Relevant Madama Butterfly

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.

Johan Reuter sings Brahms with Wiener Philharmoniker

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.

Gatti and the Royal Concertgebouw Orchestra Head to Asia

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.

Verdi’s Requiem with the Berliner Philharmoniker

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.

Jeanne d'Arc au bûcher in Lyon

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.

A New Look at Mozart’s Abduction from the Seraglio

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.

Giasone in Geneva

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.

Falstaff in Genoa

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.

Traviata in Seattle

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.

Wagner at the Deutsche Oper Berlin Part II: Kasper Holten’s angelic Lohengrin

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,

Wagner at the Deutsche Oper Berlin Part I: Stölzl’s Psychedelic Parsifal

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: Temple Song Series

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.

OPERA TODAY ARCHIVES »

Reviews

09 Dec 2012

Meyerbeer Robert le Diable, Royal Opera House

Why was Giacomo Meyerbeer's Robert le Diable an overwhelming success in its time ? The Royal Opera House production suggests why: it's a cracking good show! Extreme singing, testing the limits of vocal endurance, and extreme drama. Robert le Diable is Faust, after all, not history, and here its spirit is captured by audacious but well-informed staging. Listen with an open mind and heart and imagine how audiences in Meyerbeer's time might have imagined the madness and magic that is Robert le diable.

Giacomo Meyerbeer : Robert le diable

Robert : Bryan Hymel, Alberti : Nicolas Courjal, First Chevalier : David Butt Philip, Second Chevalier : Pablo Bemsch, Third Chevalier : Ashley Riches, Fourth Chevalier : Jihoon Kim, Bertram : John Relyea, Raimbaut : Jean-Francois Borras, Alice : Marina Poplavskaya, Isabelle : Patrizia Ciofi, Lady-in-waiting : Dusica Bijelic, Orchestra and Chorus of the Royal Opera House Conductor : Daniel Oren, Director - Laurent Pelly, Designer :Chantal Thomas, Costumes : Laurent Pelly and Jean-Jacques Delmotte, Lighting : Duane Schuler, Video : Claudio Cavallari, Choreography : Lionel Hoche

The Royal Opera House, London, 6 December 2012

 

Bryan Hymel is outstanding, singing the difficult, unusual part with exceptionally fluid, lyrical singing, the cruel tessitura negotiated with such strong technique that we hear the part, not the effort. He isn't simply displaying vocal skill, but infusing the part with greater psychological depth than the text itself suggests. That is true artistry. Opera is not singing alone, it is drama with music at its heart. The extremes Meyerbeer writes into the vocal line express Robert's tortured soul: Hymel makes them ring with emotional conviction. In the duet "Mon coeur s'élance et palpite", he almost steals the show though Isabelle has the killer high notes. Many other exquisite moments, like the Act Four "du magique rameau". Hymel, still only 33, is a voice to cherish.

The parts of Alice and Isabella are tours de force. Alice is a maid from Normandy, as the orchestra tells us with vaguely folk melodies. Although she carries a letter from Robert's mother she is not Micaëla whose love for Don José is tainted with possessiveness. Meyerbeer's audiences would have no trouble identifying Alice with Joan of Arc, another girl from Normandy who fought against all odds. Marina Poplavskaya's Alice is no bimbette, but a heroine worthy of Jeanne d'Arc herself.

Poplavskaya's voice soars clear over the orchestra in the tricky early parts of the opera. But it's in her confrontation with Bertram that she shows the intelligence she brings to the characterization. Poplavskaya reaches the horrendously high notes with clarity. Alice is direct, she doesn't make a fuss, so this intense portrayal is psychologically true. Yet it also refects the recurrent staccato in the music, and the thrusting, stabbing passages in the orchestra. The mock medieval battle in the text is outclassed by the cosmic battle for Robert's soul. Poplavskaya's Alice is lithe and energetic, for she's a swordsman duelling against death.

Isabella's two biggest arias, "Idole de ma vie" and "Robert, toi que je t'aime" define the word "show stopper". Done well, the audience is stunned and the action stops until applause subsides. That alone can make good theatre. In the Cavatina, the word "Grâce" is repeated in elaborate variations. Then the orchestra chimes in, provoking even greater feats of vocal gymnastics. You're left gasping. Patrizia Ciofi received much applause for standing in at the last moment. She's very experienced, having first taken the role more than ten years ago. Perhaps she'll slip back into gear as the run continues. She's excellent, but this is a role that needs heart shatteringly astonishing singing.

John Relyea sings Bertram's set piece arias at the end of Act Four impressively but he is no pantomime villain. Tellingly, he sings details like the recurrent "mon fils, mon fils" with gruff tenderness. He wants Robert because Robert is his son. Relyea's subtlety suggests why Bertram was once loved by the saintly Rosalie, Robert's mother. While Meyerbeer milked the plot for melodrama, there's room in the music for the depth Relyea brings to it.

Since many people know nothing of Meyerbeer other than Wagner's slander, our modern approach to Meyerbeer is distorted. Wagner was such a complex person that it's nonsense to take a simplistic view of the Wagner/Meyerbeer relationship. Alberich-like, Wagner attacked Meyerbeer, as if to downplay how much he owed him If Meyerbeer's use of the orchestra seems over the top to us, it's because we are thinking in Wagnerian terms. Meyerbeer extends his characterizations with motives that run through the opera like a thread - drinking songs, marches, Norman folk songs. Develop these further and call them Leitmotivs. He also uses the orchestra sparingly - harps around Isabella's angelic singing, brooding winds and brass around Bertram. The large orchestral flourishes are deftly done, and move the action forward, without overpowering - we want to hear those clear high vocal notes shine, after all.

If we free ourselves of Wagner snobbery, we can appreciate Robert le Diable's true place in music history. Its obvious antecedent is Carl Maria von Weber's Der Freischütz and its direct descendant Berlioz The Damnation of Faust. All derive form the High Romantic fascination with Gothic fantasy and the occult. Meyerbeer may not be "modern" taste but that reflects on our awareness of period opera. Even Bach was largely forgotten until Mendelssohn championed his music. It's only in relatively recent decades that Rossini and Handel operas have enjoyed the respect they deserve. Perhaps the shadow of Wagner is so strong that we don't let ourselves enjoy Meyerbeer because we're too worried about what others might think.

We should bear this background in mind when assessing this Royal Opera House production, directed by Laurent Pelly with designs by Chantal Thomas and atmospheric lighting by Duane Schuler. This staging would go a long way towards a reasessment of Meyerbeer because it is well researched and erudite. The ballet, where the ghosts of dead nuns are seem rising from their graves, is based almost exactly on the original Paris designs. The etchings we see are also based on authentic period imagery. The huge revolving mountain that dominates the stage could come straight out of a Gothic painting or novel. To 19th century people, wild landscapes represented fear and superhuman forces. Think the Wolf's Glen in Der Freischütz.

Robert le Diable
is melodrama, but by no means po-faced. Even Heinrich Heine noted that the plot wasn't great.

"Es ist ein großes Zauberstück
Voll Teufelslust und Liebe;
Von Meyerbeer ist die Musik,
Der schlechte Text von Scribe."

This staging is colourful because the music is colourful. How Meyerbeer's audiences must have thrilled to the sight of semi-naked nuns dancing lustfully. They would have enjoyed mock medieval pgeantry without worrying too much whether it was authentic. Our modern obssession with period-specific staging meant nothing to audiences who were used to seeing zany mixtures of period and style. Ironically, this is a much more authentic staging than many realise. In many ways, we are less open to the art of imagination now than our forebears were once. Why shouldn't we have as much fun as they did? Pelly and Thomas are giving us a chance to see the opera in context. We should value the chance to see this opera done in this way because chances are we won't get many opportunities since it's not at all an easy work to stage.

This ROH production is being recorded and filmed. BBC Radio 3 is broadcasting an audio version on Saturday 15th December (link here).

Anne Ozorio

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):