Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Birtwistle's The Mask of Orpheus: English National Opera

‘All opera is Orpheus,’ Adorno once declared - although, typically, what he meant by that was rather more complicated than mere quotation would suggest. Perhaps, in some sense, all music in the Western tradition is too - again, so long as we take care, as Harrison Birtwistle always has, never to confuse starkness with over-simplification.

The Marriage of Figaro in San Francisco

San Francisco Opera rolled out the first installment of its new Mozart/DaPonte trilogy, a handsome Nozze, by Canadian director Michael Cavanagh to lively if mixed result.

Little magic in Zauberland at the ROH's Linbury Theatre

To try to conceive of Schumann’s Dichterliebe as a unified formal entity is to deny the song cycle its essential meaning. For, its formal ambiguities, its disintegrations, its sudden breaks in both textual image and musical sound are the very embodiment of the early Romantic aesthetic of fragmentation.

Donizetti's Don Pasquale packs a psychological punch at the ROH

Is Donizetti’s Don Pasquale a charming comedy with a satirical punch, or a sharp psychological study of the irresolvable conflicts of human existence?

Chelsea Opera Group perform Verdi's first comic opera: Un giorno di regno

Until Verdi turned his attention to Shakespeare’s Fat Knight in 1893, Il giorno di regno (A King for a Day), first performed at La Scala in 1840, was the composer’s only comic opera.

A humourless hike to Hades: Offenbach's Orpheus in the Underworld at ENO

Q. “Is there an art form you don't relate to?” A. “Opera. It's a dreadful sound - it just doesn't sound like the human voice.”

Welsh National Opera revive glorious Cunning Little Vixen

First unveiled in 1980, this celebrated WNO production shows no sign of running out of steam. Thanks to director David Pountney and revival director Elaine Tyler-Hall, this Vixen has become a classic, its wide appeal owing much to the late Maria Bjørnson’s colourful costumes and picture book designs (superbly lit by Nick Chelton) which still gladden the eye after nearly forty years with their cinematic detail and pre-echoes of Teletubbies.

Rossini’s Il barbiere di Siviglia at Lyric Opera of Chicago

With a charmingly detailed revival of Gioachino Rossini’s Il barbiere di Siviglia Lyric Opera of Chicago has opened its 2019-2020 season. The company has assembled a cast clearly well-schooled in the craft of stage movement, the action tumbling with lively motion throughout individual solo numbers and ensembles.

Romantic lieder at Wigmore Hall: Elizabeth Watts and Julius Drake

When she won the Rosenblatt Recital Song Prize in the 2007 BBC Cardiff Singer of the World competition, soprano Elizabeth Watts placed rarely performed songs by a female composer, Elizabeth Maconchy, alongside Austro-German lieder from the late nineteenth century.

ETO's The Silver Lake at the Hackney Empire

‘If the present is already lost, then I want to save the future.’

Roméo et Juliette in San Francisco (bis)

The final performance of San Francisco Opera’s deeply flawed production of the Gounod masterpiece became, in fact, a triumph — for the Romeo of Pene Pati, the Juliet of Amina Edris, and for Charles Gounod in the hands of conductor Yves Abel.

William Alwyn's Miss Julie at the Barbican Hall

“Opera is not a play”, or so William Alwyn wrote when faced with criticism that his adaptation of Strindberg’s Miss Julie wasn’t purist enough. The plot is, in fact, largely intact; what Alwyn tends to strip out is some of Strindberg’s symbolism, especially that which links to what were (then) revolutionary nineteenth-century ideas based around social Darwinism. What the opera and play do share, however, is a view of class - of both its mobility and immobility - and this was something this BBC concert performance very much played on.

Cast salvages unfunny Così fan tutte at Dutch National Opera

Dutch National Opera’s October offering is Così fan tutte, a revival of a 2006 production directed by Jossi Wieler and Sergio Morabito, originally part of a Mozart triptych that elicited strong audience reactions. This Così, set in a hotel, was the most positively received.

English Touring Opera's Autumn Tour 2019 opens with a stylish Seraglio

As the cheerfully optimistic opening bars of the overture to Mozart’s Die Entführung aus dem Serail (here The Seraglio) sailed buoyantly from the Hackney Empire pit, it was clear that this would be a youthful, fresh-spirited Ottoman escapade - charming, elegant and stylishly exuberant, if not always plumbing the humanist depths of the opera.

Gluck's Orpheus and Eurydice: Wayne McGregor's dance-opera opens ENO's 2019-20 season

ENO’s 2019-20 season opens by going back to opera’s roots, so to speak, presenting four explorations of the mythical status of that most powerful of musicians and singers, Orpheus.

Olli Mustonen's Taivaanvalot receives its UK premiere at Wigmore Hall

This recital at Wigmore Hall, by Ian Bostridge, Steven Isserlis and Olli Mustonen was thought-provoking and engaging, but at first glance appeared something of a Chinese menu. And, several re-orderings of the courses plus the late addition of a Hungarian aperitif suggested that the participants had had difficulty in deciding the best order to serve up the dishes.

Handel's Aci, Galatea e Polifemo: laBarocca at Wigmore Hall

Handel’s English pastoral masque Acis and Galatea was commissioned by James Brydges, Earl of Carnavon and later Duke of Chandos, and had it first performance sometime between 1718-20 at Cannons, the stately home on the grand Middlesex estate where Brydges maintained a group of musicians for his chapel and private entertainments.

Gerald Barry's The Intelligence Park at the ROH's Linbury Theatre

Walk for 10 minutes or so due north of the Royal Opera House in Covent Garden and you come to Brunswick Square, home to the Foundling Museum which was established in 1739 by the philanthropist Thomas Coram to care for children lost but lucky.

O19’s Phat Philly Phantasy

It is hard to imagine a more animated, engaging, and musically accomplished night at the Academy of Music than with Opera Philadelphia’s winning new staging of The Love for Three Oranges.

Agrippina: Barrie Kosky brings farce and frolics to the ROH

She makes a virtue of her deceit, her own accusers come to her defence, and her crime brings her reward. Agrippina - great-granddaughter of Augustus Caesar, sister of Caligula, wife of Emperor Claudius - might seem to offer those present-day politicians hungry for power an object lesson in how to satisfy their ambition.

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):