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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.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value
a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
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.