Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.
Opening night at the Metropolitan is a gleeful occasion even when the
composer is long gone, but December 1st was an opening for a living composer who
has been making waves around the world and is, gasp, a woman — the second woman
composer ever to have an opera presented at the Met.
For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.
Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.
Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.
On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.
Here is one of the next new great conductors. That’s a bold statement,
but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment
“is the biggest news in the conducting world.” But Ms. Mirga
Gražinytė-Tyla will be getting a lot of weight on her shoulders.
Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.
On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.
If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.
Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.
I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.
For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.
Akhnaten is the third in composer Philip Glass’s trilogy of operas about people who have made important contributions to society: Albert Einstein in science, Mahatma Gandhi in politics, and Akhnaten in religion. Glass’s three operas are: Einstein on the Beach, Satyagraha, and Akhnaten.
Shakespeare re-imagined for the very Late Baroque, with Bampton Classical Opera at St John's Smith Square. "Shakespeare, Shakespeare, Shakespeare....the God of Our Idolatory". So wrote David Garrick in his Ode to Shakespeare (1759) through which the actor and showman marketed Shakespeare to new audiences, fanning the flames of "Bardolatory". All Europe was soon caught up in the frenzy.
Sadistic revenge and sadistic challenge in equal parts. You know the story — if Oreste had not slaughtered his mother Elektra would have. And did over and over in nearly two hours of raving about killing her mother. Elektra is one of the repertory's more beloved operas.
Elektra in Marseille
A review by Michael Milenski
Above: Jeanne-Michèle Charbonnet as Elektra
Photos by Christian Dresse courtesy of Opéra Municipal de Marseille
Elekta’s sadistic fantasies are surely equaled by the sadistic torture of the soprano by Richard Strauss. American soprano Jeanne-Michèle Charbonnet (born in New Orleans) inhabited the cutaway basement of a soaring Mycenaean palace for the nearly two hour stint of vocal abuse.
There were no surprises in this restaging of Opera de Marseille’s 2003 Charles Roubaud production. There was no metaphor save image derivation from the first moments film art, this new medium at one with the distortions of reality mined by the new century’s exploration of psyche. Twisted psyches in particular. Set designer Emmanuelle Favre provided a greatly exaggerated double perspective in black and white, and costume designer Katia Duflot worked both in black and white and in color with an art nouveau richness though not tone. It was a simple and effective mise en scène by its producers.
Nicolas Cavalier as Orest and Jeanne-Michèle Charbonnet as Elektra
Jeanne-Michèle Charbonnet reads as an appropriately young Elektra, physically and vocally. She projected the degradation of physical beauty brought on by depressive obsession, and she evoked our basic sympathy for such a sad creature. She raged in big, pure tones that were sometimes beautiful and sometimes ragged, and sometimes we feared for her stamina only to be reassured and then put on edge again. Her dance finished, dead on the floor, la Charbonnet had convinced us she was a real Elektra, not simply a soprano who could sing it, more or less.
The conducting did hold surprise. Veteran maestro Pinchas Steinberg imposed a very measured pace that offered startling insight into the softer, even tender moments of Straussian expressionism. This when it did not threaten to stall all emotional flow. The Oreste and Elektra scene was of spectacular beauty and tenderness and still very brutal. Oreste, bass Nicolas Cavallier (an actor turned singer) exuded the not-so-subtle sexual satisfaction Elektra feels as her fantasies slowly and carefully moved toward climax.
The coup de grace of the afternoon was however the screams, possibly amplified, of the murdered Clytemnestra, sung screams rather than the usual extended gut grunt. Mezzo-soprano Marie-Ange Todorovitch offered a well sung, through sung version of this complex, tragic personage that revealed in fact a much larger and far more complete personage than the usual half-voiced monster. Mme. Todorovitch made her scene with Elektra maximally vivid, reveling in the shattered exposition of her fears, exquisitely costumed in black gown with a platinum blond wig.
German soprano Ricarda Merbeth provided big, luminous tones non-stop as Chrysothémis, costumed in colorful flowers befitting her maidenhood (Mme. Merbeth sings Salome as well). This fine singer succeeded in projecting the larger attitudes of her character without plumbing the vocal and histrionic depths of this character antidote to sister and mother.
Marie-Ange Todorovitch as Clytemnestra adn Jeanne-Michèle Charbonnet as Elektra
Patrick Raftery retains sufficient voice to deliver a pallid Aegistus, the limit of the role for Strauss and metteur en scène Roubaud. The overseer and maid servants, train bearer and confidant were appropriately rendered (no small compliment), who with a number of strikingly costumed supernumeraries made sick and lively stage pictures from time to time on the upper levels of the soaring set.
The Opéra de Marseille deployed seventy-six musicians. That seemed not quite enough, particularly when the maestro needed huge string sounds to develop the voluptuous moments of the Strauss score. The baignoires on both sides of the pit each housed a partial number of the eight timpani Strauss requires, rendering the great climaxes in stereo — maximally powerful! Boxes further above housed percussion and harps whose sounds floated eerily in the higher reaches of the hall with an acoustic appropriateness to the psychic pings of the Strauss drama.
It was a fine afternoon.
Cast and Production
Elektra: Jeanne-Michèle Charbonnet; Chrysothémis: Ricarda Merbeth; Clytemnestre: Marie-Ange Todorovitch; First Servant: Lucie Roche; Second Servant: Christine Tocci; Third Servant: Simona Caressa; Fourth Servant: Bénédicte Rousseno; Fifth Servant: Sandrine Eyglier; Overseer: Anne-Marguerite Werster; Aegisthe: Patrick Raftery; Oreste: Nicolas Cavallier; Précepteur d’Oreste: Erick Freulon; Young Servant: Avi Klemberg; Old Servant: Christophe Fel. Chorus and Orchestra of the Opéra de Marseille. Conductor: Pinchas Steinberg; Mise en scéne: Charles Roubaud; Scenery: Emmanuelle Favre; Costumes: Katia Duflot; Lighting: Marc Delamézière. Opéra de Marseille. February 10, 2013.