Recently in Performances
Director Annabel Arden believes that Rossini’s Il barbiere di Siviglia is ‘all about playfulness, theatricality, light and movement’. It’s certainly ‘about’ those things and they are, as Arden suggests, ‘based in the music’.
George Enescu’s Oedipe was premiered in Paris 1936 but it has taken 80 years for the opera to reach the stage of Covent Garden. This production by Àlex Ollé (a member of the Catalan theatrical group, La Fura Dels Baus) and Valentina Carrasco, which arrives in London via La Monnaie where it was presented in 2011, was eagerly awaited and did not disappoint.
Lyric Opera of Chicago staged Charles Gounod’s Roméo et Juliette as the last opera in its current subscription season.
‘The plot is perhaps the least moral in all opera; wrong triumphs in the name of love and we are not expected to mind.’
Anthony Minghella’s production of Madame Butterfly for ENO is
wearing well. First seen in 2005, it is now being aired for the sixth time and is still, as I observed in 2013, ‘a breath-taking visual banquet’.
This concert version of La straniera felt like a compulsory musicology field trip, but it had enough vocal flashes to lobby for more frequent performances of this midway Bellini.
As poetry is the harmony of words, so music is that of notes; and as poetry is a rise above prose and oratory, so is music the exaltation of poetry.
From experiments with musique concrète in the 1940s, to the
Minimalists’ explorations into tape-loop effects in the 1960s, via the
appearance of hip-hop in the 1970s and its subsequent influence on electronic
dance music in the 1980s, to digital production methods today,
‘sampling’ techniques have been employed by musicians working in
genres as diverse as jazz fusion, psychedelic rock and classical music.
On May 7, 2016, San Diego Opera presented the West Coast premiere of Great Scott, an opera by Terrence McNally and Jake Heggie. McNally’s original libretto pokes fun at everything from football to bel canto period opera. It includes snippets of nineteenth century tunes as well as Heggie's own bel canto writing.
A foiled abduction, a castle-threatening inferno, romantic infatuation, guilt-laden near-suicide, gun-shots and knife-blows: Andrea Leone Tottola’s libretto for Vincenzo Bellini’s first opera, Adelson e Salvini, certainly does not lack dramatic incident.
Opera as an art form has never shied away from the grittier shadows of life. Nor has Manitoba Opera, with its recent past productions dealing with torture, incest, murder and desperate political prisoners still so tragically relevant today.
Published in 1855 as an entertainment for his two daughters, William Makepeace Thackeray’s The Rose and the Ring is a burlesque fairy-tale whose plot — to the author’s wilful delight, perhaps — defies summation and elucidation.
What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.
I suspect that many of those at the Wigmore Hall for The King’s
Consort’s performance of the La Senna festeggiante (The
Rejoicing Seine) were lured by the cachet of ‘Antonio Vivaldi’ and
further enticed by the notion of a lover’s serenade at which the generic
term ‘serenata’ seems to hint.
Having enjoyed superb singing by a young cast of soloists in Classical
Opera’s UK premiere of Jommelli’s Il Vogoleso the
previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final
at the Wigmore Hall confirmed the strength and depth of talent possessed by the
young singers studying in and emerging from our academies and conservatoires.
On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.
Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.
London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.
Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.
On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.
10 Feb 2013
Dialogues of the Carmelites in Toulon
Boasting one of France’s grandest opera houses (said to be the model for Paris’ Opéra Garnier) Toulon hosts a season of five operas — Aida, Butterfly and Flute are hand in hand with Carmen and, yes, Dialogues des carmélites.
The pit however is small for big opera, thus the baignoires (boxes) sitting just over the sides of the pit have long since been taken over by percussion. In the recent renovation of the Opéra the pit was not enlarged making it necessary to requisition additional nearby baignoires to accommodate Poulenc’s generous post Romantic orchestration — the harps coté cour (left side) and a piano coté jardin. The Opéra de Toulon was set up for a big evening.
New productions are rarely created in Toulon — this Dialogues of the Carmelites was an exception. Jean-Philippe Clarac and Olivier Deloeuil, the artistic team of some pretension that has overseen the Opéra Français de New York since 2005 were its authors. In recent years messieurs Clarac and Deloeuil have undertaken as well the stagings of large, non-operatic choral/orchestral works in important French theaters.
The techniques they have developed informed this staging of Poulenc’s Dialogues, the set more of an art installation than an integration of opera’s dramatic components. The ancien régime (or ancestral home in this abstract staging) was a Louis XIV settee in a display case, the monastery was a white, hard-edge Stonehenge configuration. Interludes were visually inhabited by huge black and white projections of nuns’ faces enclosed in Revolutionary period habits when not enlivened by the a vista intrusion of stagehands (maybe the angry mob) to modify the elements of the installation — some benches became crosses and others became general mayhem (aka Place de la Révolution).
Nadine Denize as the Prioress and Ermonela Jaho as Blanche [Photo © Yachar Valekdjie courtesy of Opéra de Toulon]
The coup de théâtre was, of course, the executions. A large white plaque descended with MORT written in straight neon lines, fifteen, uhm, make that sixteen little lines were extinguished one by one in concert with Poulenc’s hyper kitsch, not to say wonderfully effective, always moving finale. It even survived, almost, this staging. Believe it or not.
The mise en scène did offer the singers ample space and relief to portray Poulenc’s very human characters struggling to reconcile life with death, fear with principle (and the list of conflicts goes on), the humanity in Poulenc’s startling opera exponentially intensified by installing it within spiritually competitive women. The impact of Poulenc’s opera is realized by the individual performances of five nuns, each performance contributing to the complexity and therefore effectiveness of the other performances. These are complicated women.
Toulon made it part of the way with Albanian soprano Ermonela Jaho as Blanche, possessed by primal fears and questionable spirituality. No stranger to the Toulon stage (Mireille , Thais ) Mlle. Jaho is a large scale artist with a very fine instrument (thus a very big career). Blanche dominated the stage as Poulenc meant her to do, the stage having been set for her by the old Prioress Mme. de Croissy enacted by mezzo soprano Nadine Denize. The Prioress is dying, thus this cameo role is always undertaken by a magnetic singer, often retired who can gasp and hopefully emit a few good tones from time to time. Mme. Denize was appropriately magnetic, shall we say mesmerizing, and gasped with the best of them. Equally affecting was the role of Constance, the young nun whose impetuousness belied her purity, sung by French soprano Virginie Pochon.
The roles of Mère Marie de l’Incarnation and Madame Lidoine are dramatically more pointed. In fact the biggest singing of the evening is given to Mère Marie, once assumed to be the successor to the old Prioress, and who finally is the only one of the nuns who declines martyrdom making her the spiritual villain of Poulenc’s opera. The new prioress, Madame Lidoine is a simple, unassuming soul, who finally achieves emotional stature as an effective mother to her flock. Taken respectively by mezzo soprano Sophie Fournier and Spanish soprano Angeles Blancas Gulin these two roles did not contribute sufficient force of personality or voice to effectively complete the dramatic spectrum. The same may be said of the aumônier (chaplain) to the nuns sung by tenor Olivier Dumait.
Overseeing all this musically was octogenarian conductor Serge Baudo. The realization of Poulenc’s score lacked the urgency these spiritual dilemmas should provoke, and the musical energy required to keep this theater piece alive for two hours. Nor could the maestro impose sufficient control over the orchestra to assure clean entrances and cutoffs.
Cast and Production
Blanche de la Force: Ermonela Jaho; Madame de Croissy: Nadine Denize; Madame Lidoine: Angeles Blancas Guin; Le Chavalier de la Force: Stanislas de Barbeyrac; L’Aurmônier: Olivier Dumait; Le Marquis de la Force: Laurent Alvaro; Constance de Saint-Denis: Virginie Pochon; Mère Marie de l’Incarnation: Sophie Fournier; Le premier commissaire: Thomas Morris; Le second commissaire: Philippe Ermelier; Docteur Javelinot: Jean-François Verdoux; Thierry: Thierry Hanier; Mère Jeanne: Sylvia Gigliotti; Soeur Mathilde: Rosemonde Bruno La Rotonda. Chorus and Orchestra of the Opéra de Toulon. Conductor: Serge Baudo; Mise en scène & scene design: Jean-Philiippe Clarac & Olivier Deloeuil; Costumes: Thibaut Welchlin; Lighting: Rick Martin. Opéra de Toulon. January 29, 2013.