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
On Thursday evening October 13, Los Angeles Opera transmitted Giuseppe Verdi’s Macbeth live from the Dorothy Chandler Pavilion, in the center of the city, to a pier in Santa Monica and to South Gate Park in Southeastern Los Angeles County. My companion and I saw the opera in High Definition on a twenty-five foot high screen at the park.
Director Richard Jones never met an opera he couldn’t ‘change,’ and Canadian Opera Company’s sumptuously sung Ariodante was a case in point.
“Hi! I’m at the Wigmore Hall!” American mezzo-soprano Jamie Barton’s exuberant excitement at finding herself performing in the world’s premier lieder venue was delightful and infectious. With accompanist James Baillieu, Barton presented what she termed a “love-fest” of some of the duo’s favourite art songs. The programme - Turina, Brahms, Dvořák, Ives, Sibelius - was also surely designed to show-case Barton’s sumptuous and balmy tone, stamina, range and sheer charisma; that is, the qualities which won her the First and Song Prizes at the 2013 BBC Cardiff Singer of the World Competition.
Canadian Opera Company has assembled a commendable Norma that is long on ritual imagery and war machinery.
“If I lacked ears, it would be bad, but still more bearable; but lacking a nose, a man is devil knows what: not a bird, not a citizen—just take and chuck him out the window!”
A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure, this new production presents the plot as the dying protagonist’s feverish hallucinations. The result is a frosty retelling of what is arguably Puccini’s most hot-blooded opera. Musically, the performance also left much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang bergetar akan terhapus.” (“The transient cannot hold on to stars lost in the Milky Way; that which quivers will be erased.”) As soprano Tony Arnold sang these words of Tony Prabowo’s chamber opera Pastoral, with astonishingly crisp Indonesian diction, the first night of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
Manitoba Underground Opera took audiences on a journey — literally and figuratively — as it presented its latest installment of repertory opera between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
Director David Alden’s confusing production concepts in Verdi’s A Masked Ball may make you wonder whether you came to the right party
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.
Stephanie 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.
Dmitri 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.
Mark 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?