Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

J. C. Bach: Adriano in Siria

At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme each season during the next 27 years to exploring the music by Mozart and his contemporaries which was being written and performed exactly 250 years previously.

Bethan Langford, Wigmore Hall

The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.

Tansy Davies: Between Worlds (world premiere)

An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.

Arizona Opera Ends Season in Fine Style with Fille du Régiment

On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.

Il turco in Italia, Royal Opera

This second revival of Patrice Caurier and Moshe Leiser’s 2005 production of Rossini’s Il Turco in Italia seems to have every going for it: excellent principals comprising experienced old-hands and exciting new voices, infinite gags and japes, and the visual éclat of Agostino Cavalca’s colour-bursting costumes and Christian Fenouillat’s sunny sets which evoke the style, glamour and ease of La Dolce Vita.

The Siege of Calais
——
The Wild Man of the West Indies

English Touring Opera’s 2015 Spring Tour is audacious and thought-provoking. Alongside La Bohème the company have programmed a revival of their acclaimed 2013 production of Donizetti’s The Siege of Calais (L’assedio di Calais) and the composer’s equally rare The Wild Man of the West Indies (Il furioso all’isola di San Domingo).

The Met’s Lucia di Lammermoor

Mary Zimmerman’s still-fresh production is made fresher still by Shagimuratova’s glimmering voice, but the acting disappoints

Voices, voices in space, and spaces: Thoughts on 50 years of Meredith Monk

When WNYC’s John Schaefer introduced Meredith Monk’s beloved Panda Chant II, which concluded the four-and-a-half hour Meredith Monk & Friends celebration at Carnegie’s Zankel Hall, he described it as “an expression of joy and musicality” before lamenting the fact that playing it on his radio show could never quite compete with a live performance.

St. John Passion by Soli Deo Gloria, Chicago

This year’s concert of the Chicago Bach Project, under the aegis of the Soli Deo Gloria Music Foundation, was a presentation of the St. John Passion (BWV 245) at the Harris Theater in Millennium Park.

Fedora in Genoa

It is not an everyday opera. It is an opera that illuminates a larger verismo history.

The Marriage of Figaro, LA Opera

On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.

The Tempest Songbook, Gotham Chamber Opera

Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to explore the possibilities of unconventional spaces and unconventional programs that the company has made its hallmark. The results were musically and theatrically thought-provoking, and left me wanting more.

San Diego Opera presents Adams’ Riveting Nixon in China

Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.

Ars Minerva presents Castrovillari’s La Cleopatra in San Francisco

It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.

An Ideal Cast in Chicago’s Tannhäuser

Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.

Madame Butterfly, Royal Opera

Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.

Tosca in Marseille

Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.

Poetry beyond words — Nash Ensemble, Wigmore Hall

The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.

Arizona Opera Presents Magritte Style Magic Flute

On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.

Henry Purcell: A Retrospective

There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.

OPERA TODAY ARCHIVES »

Performances

Sondra Radvanovsky as Amelia and Marcelo Álvarez as Gustavo III [Photo by Ken Howard courtesy of The Metropolitan Opera]
14 Dec 2012

The Met’s Un Ballo in Maschera difficult to unmask

Director David Alden’s confusing production concepts in Verdi’s A Masked Ball may make you wonder whether you came to the right party

The Met’s Un Ballo in Maschera difficult to unmask

A review by David Rubin

Above: Sondra Radvanovsky as Amelia and Marcelo Álvarez as Gustavo III

Photos by Ken Howard courtesy of The Metropolitan Opera

 

Somewhere in the heated imagination of director David Alden there may be a convincing production of Verdi’s Januslike masterpiece, Un Ballo in Maschera, part Italian barn-burner and part French operetta.

In this new production, Alden’s considerable talents did not come to the fore until Act Three, Scene One. This is where Renato, counselor to King Gustavo III of Sweden, confronts his wife Amelia. She has been unfaithful to him by loving the King from afar. The King loves her in return, but the two have never managed to consummate the relationship, this being an opera. Betrayed by both his King and his wife, Renato, heretofore a loyal lieutenant, is in a murderous mood.

ballo_0030-s.pngStephanie Blythe as Madame Ulrica Arvidsson

For this grim scene Alden and set designer Paul Steinberg reduced the playing space on the enormous Met stage to a small box that is all angles with a stark black and white color scheme. The ceiling slopes down at a vertiginous angle. The walls close in on the emotionally tortured couple as Renato says he will kill her; he then swears vengeance on the King.

Baritone Dmitri Hvorostovsky as Renato and soprano Sondra Radvanovsky as Amelia are both fine actors, so Alden had much to work with in this scene. He introduced an element of sexual tension between the couple — a hint that Renato would take her in violent sex one last time before killing her. Hvorostovsky handled her roughly, lending a particular urgency to their singing. When the two conspirators (the Counts Ribbing and Horn) assisting Renato in the assassination plot suddenly appeared through a back wall of the boxy set, the effect was chilling.

Had the entire production been at this level, the Met would finally have a hit Ballo. But it was not.

Alden told the opera website Parterre Box that he sees King Gustavo as “a dreamer and a fantasist.” This is the inspiration for his conception. To demonstrate how out-of-control the King is, Alden compares him to Icarus, the mythological boy who disregards the advice of his father and flies too close to the sun. An enormous mural showing Icarus falling into the sea is a constant presence in the production.

This choice is banal. Indeed, Alden bristled when Met General Manager Peter Gelb used the word “obvious” for the Icarus image in an intermission interview. Gelb backpedaled furiously from this honest assessment as soon as he realized Alden’s displeasure. But it is obvious, and boring, and it adds nothing to our understanding of Verdi’s conception.

Alden has directed this dreamy fantasist of a king as a goofball from a Marx Brothers film. He laughs a lot (some of which is in the music). He yearns, he swoons, and he waves his arms. But he is never credible as a strong king beloved by some of his people and hated by others. The tragedy of his doomed love for Amelia never registers.

bal_1746a.pngDmitri Hvorostovsky as Count Anckarström and Marcelo Álvarez as Gustavo III

Alden has imposed no other vision than this on the opera. Is it at heart a political drama about the assassination of a tyrant, or the assassination of a good man by his enemies? If so, why are the conspirators Ribbing and Horn almost invisible in this production until Act Three? Or does Alden see Ballo as simply a tragic love triangle with a political backdrop?

Alden’s stage pictures (with the exception of Act Three, Scene One) are designed to heighten the fantasy. They are by turns risible or puzzling: dancing waiters; an Oscar (the loyal page to the King) who flaps her own Icarus mini-wings (talk about obvious) and smokes cigarettes; courtiers in brown trench coats; and the King slumming in a fisherman’s sweater topped with a royal ermine cape seemingly cadged from a Salvation Army store.

So it was left to the singers to make some sense of this hodgepodge. They did so with mixed success.

Hvorostovsky, one of the world’s leading Verdi baritones and a matinee idol with his shock of perfectly groomed white hair, brought a gravitas to the proceedings that was sorely lacking. It was hard to imagine that such a serious man could be counselor to this frivolous king. Hvorostovsky delivered both of his major arias with power, particularly “Eri Tu” in Act Three in which he hurls invective at a portrait of the king. He and Radvanovsky were believable as a couple in serious need of marriage counseling.

Radvanovsky spent the entire opera looking anguished. She is most effective when singing quietly. She floated some beautiful notes at the end of her Act Two aria as she searches for some magic herbs to rid her of her feelings for the King. When she sings at a mezzo forte or forte, and at the top of her range, she is somewhat raw. But she is an honest artist, and she did her best to make sense of the enigmatic Amelia. Her duet with the King in Act Two when they acknowledge their forbidden love was electrifying, and it received a huge ovation.

As the King, tenor Marcelo Alvarez was badly in need of better direction from Alden. He is not a natural actor. Playing an unstable character trying to fly away from his royal duties is not easy to do. Alvarez could not pull it off. The intrusive close-ups of the HD telecast didn’t help convince the audience that there was much of anything on his mind.

bal_3968a.pngMark Schowalter as the Judge and Kathleen Kim as Oscar

The middle and top of Alvarez’s voice remain solid and exciting, but he is losing the low notes, and he clipped some of his phrases. Powerful as it is, his voice is a bit characterless. It’s hard to keep his basic sound in mind. This was not a performance to put alongside Tucker or Peerce or Bergonzi, not to mention Pavarotti.

Kathleen Kim has given impressive performances at the Met as Olympia (in Hoffman) and Zerbinetta (in Ariadne auf Naxos). She has lost some of the agile, silvery quality to her voice, however. Perhaps her stint as Chiang Ch’ing in Nixon in China changed her instrument. Oscar, a character drawn from French operetta tradition, must be sung lightly, with humor and great agility. Alden worked against the happy sound of Kim’s arias by making this Oscar menacing. She wore a mustache and goatee, smoked, and flapped her wings. Alden also suggested that Oscar was not even faithful to the King; she was a witness to the assassination plot and clearly knew the King was a marked man. Yet she did nothing to stop it. All this undermined Kim’s performance.

The stentorian mezzo Stephanie Blythe delivered her usual blast-furnace performance as the fortune-teller Ulrica. No production concept can undermine this artist.

As Fabio Luisi conducts more Met performances, his strengths and weaknesses are starting to come into view. The Met Orchestra played with precision. His tempos were fleet. Everything was tidy, and spot-on. But, although he is Italian, this performance lacked an Italianate throb. He didn’t give his singers much room to just run with it. As a result, the performance was highly professional but cold. Listen to the CD of a live Ballo at the Met conducted by Dimitri Mitropoulos (available from Sony and the Met). It’s a bit reckless, but the Greek Mitropoulos is more Italian than Luisi, and his performance crackles with electricity. Luisi’s merely hums with efficiency.

Director Elijah Moshinsky’s 1980 Met production of Ballo seemed to be set in a sauna. Now this. Is Ballo really that hard to pull off?

David Rubin

This review first appeared at CNY Café Momus on December 13, 2012. It is reprinted with the permission of the author.

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):