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

Falstaff, Royal Opera

Director Robert Carsen’s 2012 production of Verdi’s Falstaff, here revived by Christophe Gayral, might be subtitled ‘full of stuff’ or ‘stuffed full’: for it’s a veritable orgy of feasting from first to last - from Falstaff’s breakfast binge-in-bed to the final sumptuous wedding banquet.

Die schweigsame Frau, Munich

If Strauss’s operas of the 1920s receive far too little performing attention, especially in the Anglosphere, those of the 1930s seem to fare worse still.

Abduction and Alcina at the Aix Festival

The 67th edition of the prestigious Festival d’Aix-en-Provence opened on July 2 with an explosive production of Handel’s Alcina followed the next night by an explosive production of Mozart’s Die Entführung aus dem Serail.

O/MODƏRNT: Monteverdi in Historical Counterpoint

O/MODƏRNT is Swedish for ‘un/modern’. It is also the name of the festival — curated by artistic director Hugo Ticciati and held annually since 2011 at the Ulriksdal’s Palace Theatre, Confidencen — which aims to look back and celebrate the past ‘by exploring the relationships between the work of old composers and the artistic and intellectual creations of modern culture’.

Late Schumann in context — Matthias Goerne and Menahem Pressler, London

Matthias Goerne and Menahem Pressler at the Wigmore Hall, London, an intriguing recital on many levels.

Guillaume Tell, Covent Garden

It is twenty-three years since Rossini’s opera of cultural oppression, inspiring heroism and tender pathos was last seen on the Covent Garden stage, but this eagerly awaited new production of Guillaume Tell by Italian director Damiano Micheletto will be remembered more for the audience outrage and vociferous mid-performance booing that it provoked — the most persistent and strident that I have heard in this house — than for its dramatic, visual or musical impact.

Aida, Opera Holland Park

With its outrageous staging demands, you sometimes wonder why opera companies want to produce Verdi’s Aida. But the piece is about far more than pharaohs, pyramids and camels.

Death in Venice, Garsington Opera

Given the enduring resonance and impact of the magnificent visual aesthetic of Visconti’s 1971 film of Thomas Mann’s novella, opera directors might be forgiven for concluding that Britten’s Death in Venice does not warrant experimentation with period and design, and for playing safe with Edwardian elegance, sweeping Venetian vistas and stylised seascapes.

La Rondine Swoops Into St. Louis

If La Rondine (The Swallow) is a less-admired work than rest of the mature Puccini canon, you wouldn’t have known it by the lavish production now lovingly staged by Opera Theatre of Saint Louis.

Emmeline a Stunner in Saint Louis

Few companies have championed new or neglected works quite as fervently and consistently as the industrious Opera Theatre of Saint Louis.

Luminous Handel in Saint Louis

For Opera Theatre of Saint Louis, “everything old is new again.”

Two Women in San Francisco

Why would an American opera company devote its resources to the premiere of an opera by an Italian composer? Furthermore a parochially Italian story?

Les Troyens in San Francisco

Berlioz’ Les Troyens is in two massive parts — La prise de Troy and Troyens à Carthage.

Dog Days at REDCAT

On Saturday evening June 13, 2015, Los Angeles Opera presented Dog Days, a new opera with music by David T. Little and a text by Royce Vavrek. In the opera adopted from a story of the same name by Judy Budnitz, thirteen-year-old Lisa tells of her family’s mental and physical disintegration resulting from the ravages of a horrendous war.

Opera Las Vegas Presents Exquisite Madama Butterfly

Audiences at the Teatro alla Scala in Milan first saw Madama Butterfly on February 17, 1904. It was not the success it is these days, and Puccini revised it before its scheduled performances in Brescia.

Yardbird, Philadelphia

Opera Philadelphia is a very well-managed opera company with a great vision. Every year it presents a number of well-known “warhorse” operas, usually in the venerable Academy of Music, and a few more adventurous productions, usually in a chamber opera format suited to the smaller Pearlman Theater.

Giovanni Paisiello: Il Barbiere di Siviglia

Written in 1783, Giovanni Paisiello’s Il Barbiere di Siviglia reigned for three decades as one of Europe’s most popular operas, before being overshadowed forever by Rossini’s classic work.

Princeton Festival: Le Nozze di Figaro

The Princeton Festival has established a reputation for high-quality summer opera. In recent years works by Handel, Britten, Rachmaninoff, Stravinsky, Wagner and Gershwin have been performed at Matthews Theater on Princeton University campus: a 1100-seat auditorium with good sight-lines though a somewhat dry and uneven acoustic.

Die Entführung aus dem Serail,
Glyndebourne

Die Entführung aus dem Serail was Mozart’s first great public success in Vienna, and it became the composer’s most oft performed opera during his lifetime.

German Lieder Is Given a Dramatic Twist by The Ensemble for the Romantic Century

The Ensemble for the Romantic Century offered a thoughtful and well-curated evening in their production of The Sorrows of Young Werther, which is part theatrical performance and part art song concert.

OPERA TODAY ARCHIVES »

Performances

23 Jan 2013

Pelléas et Mélisande in Nice

Pelléas et Mélisande, in t-shirts and jeans, were out riding bicycles. They came upon a fountain. You know what happened.

As we already did because it was all a flash back. We had seen Golaud, dead, a bullet hole on the top of his head, seated in a sort of chair carefully and cleanly created out of a piece of a classic Greek column. He was surrounded by a lot of strangely dressed people plus an even stranger one in a clown costume (lacking only the red bulb on the nose). This we soon found out was Yniold.

In a bit less than three hours Mélisande was dead too during a psychedelic light show that took place beyond the Zen garden behind the very gray, very angular Japanese pavilion that served as the unit set. This garden setting was perhaps intended to invite us to conjure in our meditations all those fountains and grottos and bleak seascapes that other times make Debussy’s masterpiece one of opera’s sublime experiences. We were however just then participating in a violent domestic tragedy making meditation difficult.

The day of Mélisande’s death and his own Golaud chose to wear a bright maroon suit with black stripes. Pelléas was of course already dead having chosen to wear red blazer and a yellow shirt with a colorful tie for his late night fateful farewell to Mélisande. Mélisande who had a short, pert haircut had to pretend that a blue and gold scarf, obviously from India, was the hair that Pelléas tried to wallow in.

Costumes were by the production’s stage director, René Koering (père), sets were by Virgil Koering (fils) who evidently has a thing about radio operated model cars because this high tech toy was also featured in Wolf-Ferrari’s Secret of Susanna [the secret was that she smoked dope] that he designed a few years ago for Montpellier. Arkel on the other hand was pushed around the stage in an antique wheelchair.

The Opéra de Nice, a Belle Époque monument, these days boasts fairly large pit, allowing a quite generous number of strings. The accomplished Orchestre Philharmonique de Nice did indeed provide some of the rich sonorities that can make this remarkable score an orchestral tour de force. The conductor was Philippe Auguin, its music director (Mo. Auguin is also the music director of the Washington National Opera).

The maestro surely will have had an agreement with the cast that they would be entirely on their own for the duration of the opera as he did not so much as even glance at the stage, remaining buried in the score when not energetically encouraging the various players and sections of his orchestra (Mo. Auguin was quite visible to me as I had press seats courtesy of the Opéra de Nice in a box directly over the pit and stage). This presumed agreement however had its flaws — the engrossed maestro did not connect with the stage. The huge, shattering moments that make Pelléas and Golaud two of the repertoire’s most complexly emotional roles were rendered orchestrally soulless, their impact filtered through the maestro’s ponderous orchestral processes.

The singers (directly below me) were in fact brilliantly connected to the Maeterlinck tragedy and were well able to negotiate the text rendered into Debussy’s urgent melodic shapes and rhythms. Baritone Franck Ferrari (a Niçois with an Italian surname) gave a powerful performance as Golaud. Ferrari possesses a dark hued voice with reserves of virile power, ideal for Maeterlinck’s tragic hero. He is a consummate singing actor who gamely executed even the strangest moments of the stage direction.

Lyonnais tenor Sébastien Guéze proved himself yet again to be a very accomplished interpreter of the French heroic roles (Faust as well as Pelléas as examples). His French is crystal clear, his voice is able to expand into ever greater fortes of emotional release in Debussy’s most intense moments. The scenes of his sexual discovery of and declaration of love to Mélisande were the most thrilling of the evening.

A last minute replacement for the Arkel listed in the program (no explanation why, leaving room for speculation) was American trained black bass baritone Willard White. Jamaican born White is one of the renowned basses of recent times. Obviously a powerful performer he added an unusual, lascivious magnitude to Arkel that seemed to make him the primary architect of the tragedy. Mr. White’s French had a bit of a twang at first but we got used to it.

French early music diva Sandrine Piau was the Mélisande. Her voice is of sufficient amplitude to convey the indecision of this famous enigma though the mise en scéne deprived her of the ambience and the persona needed to enflame the above gentlemen. Mlle. Piau gamely pretended that Mélisande had a psychotic breakdown before she died. Russian born, French trained soprano Khatouna Gadelia gave Yniold a far more energetic and knowing presence than this emblematic innocent usually possesses.

It is hard to fathom what quirk of old-boyism handed a new production of this masterpiece to veteran opera intendant René Koering when there are so many easily identifiable French stage directors who have the technique, experience and imagination to plumb its depths with intelligence and sensitivity. Mr. Koering is a jack-of-all-operatic-trades. This attribute served him brilliantly as general director of the Opéra National de Montpellier, but it does not give him the experience or artistic stature to mount a production on what should be an important provincial French stage.

Michael Milenski

Cast and Production

Pelléas: Sébastien Guéze; Mélesande: Sandrine Piau; Golaud: Granck Ferrari; Arkel: Willard White; Geneviève: Elodie Méchain; Yniold: Khatouna Gadelia; Doctor: Thomas Dear. Chorus of the Opéra de Nice Côte d'Azur. Orchestre Philharmonique de Nice; Conductor: Philippe Aiguin; Stage Director: René Koering; Costumes: René Koering; Set Design: Virgil Koering; Lighting: Patrick Méetüs. Opéra de Nice. January 17, 2013.

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):