The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre. The world of commercial public opera had only just dawned with the opening of the Teatro San Cassiano in Venice in 1637 and for the first time opera became open to all who could afford a ticket, rather than beholden to the patronage of generous princes. Monteverdi took full advantage of the new stage and at the age of 73 brought all his experience of more than 30 years of opera-writing since his ground-breaking L’Orfeo (what a pity we have lost all those works) to the creation of two of his greatest pieces, Ulysses and then his final masterpiece, Poppea.
Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission. It is a sad state of affairs when a season that includes both Boulevard Solitude and Moses und Aron is considered exceptional, but it is - and is all the more so when one contrasts such seriousness of purpose with the endless revivals of La traviata which, Die Frau ohne Schatten notwithstanding, seem to occupy so much of the Royal Opera’s effort. That said, if the Royal Opera has not undertaken what would be only its second ever staging of Schoenberg’s masterpiece - the first and last was in 1965, long before most of us were born! - then at least it has engaged in a very welcome ‘WNO at the Royal Opera House’ relationship, in which we in London shall have the opportunity to see some of the fruits of the more adventurous company’s endeavours.
If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.
Composed during just a few weeks of the summer of 1926, Janáček’s Slavonic-text Glagolitic Mass was first performed in Brno in December 1927. During the rehearsals for the premiere - just 3 for the orchestra and one 3-hour rehearsal for the whole ensemble - the composer made many changes, and such alterations continued so that by the time of the only other performance during Janáček’s lifetime, in Prague in April 1928, many of the instrumental (especially brass) lines had been doubled, complex rhythmic patterns had been ‘ironed-out’ (the Kyrie was originally in 5/4 time), a passage for 3 off-stage clarinets had been cut along with music for 3 sets of pedal timpani, and choral passages were also excised.
With the conclusion of the ROH 2013-14 season on Saturday evening - John Copley’s 40-year old production of La Bohème bringing down the summer curtain - the sun pouring through the gleaming windows of the Floral Hall was a welcome invitation to enjoy a final treat. The Jette Parker Young Artists Summer Showcase offered singers whom we have admired in minor and supporting roles during the past year the opportunity to step into the spotlight.
Many words have already been spent - not all of them on musical matters - on Richard Jones’s Glyndebourne production of Der Rosenkavalier, which last night was transported to the Royal Albert Hall. This was the first time at the Proms that Richard Strauss’s most popular opera had been heard in its entirety and, despite losing two of its principals in transit from Sussex to SW1, this semi-staged performance offered little to fault and much to admire.
Twenty years ago stage director Christopher Alden introduced Rossini’s then forgotten comedy to Southern California audiences in a production that is still remembered. In Aix Alden has revisited this complex work that many critics now consider Rossini’s greatest comedy.
The BBC Proms 2014 season began with Sir Edward Elgars The Kingdom (1903-6). It was a good start to the season,which commemorates the start of the First World War. From that perspective Sir Andrew Davis's The Kingdom moved me deeply.
That’s A Winter’s Journey and A Night of Mourning for metteurs-en-scène William Kentridge (South Africa) and Katie Mitchell (Great Britain), completing the clean sweep of English language stage directors for the Aix Festival productions this year.
Assured elegance, care and thoughtfulness characterised tenor James Gilchrist’s performance of Schubert’s Schwanengesang at the Wigmore Hall, the cycles’ two poets framing a compelling interpretation of Beethoven’s An die ferne Geliebte.
‘Music for a while shall all your cares beguile.’ Dryden’s words have never seemed as apt as at the conclusion of this wonderful sequence of improvisations on Purcell’s songs and arias, interspersed with instrumental chaconnes and toccatas, by L’Arpeggiata.
The acoustic of the gigantic Théâtre Antique Romain at Orange cannot but astonish its nine thousand spectators, the nearly one hundred meter breadth of the its proscenium inspires awe. There was excited anticipation for this performance of Verdi’s first masterpiece.
In past years the operas of the Aix Festival that took place in the Grand Théâtre de Provence began at 8 pm. The Magic Flute began at 7 pm, or would have had not the infamous intermittents (seasonal theatrical employees) demanded to speak to the audience.
The programme declared that ‘music, water and night’ was the connecting thread running through this diverse collection of songs, performed by soprano Lucy Crowe and pianist Anna Tilbrook, but in fact there was little need to seek a unifying element for these eclectic works allowed Crowe to demonstrate her expressive range — and offered the audience the opportunity to hear some interesting rarities.
It is not often that concept, mood, music and place coincide perfectly. On the first night of Opera della Luna’s La Fille du Regiment at Iford Opera in Wiltshire, England we arrived with doubts (rather large doubts it should be admitted)as to whether Donizetti’s “naive and vulgar” romp of militarism and proto-feminism, peopled with hordes of gun-toting soldiers and praying peasants, could hardly be contained, surely, inside Iford’s tiny cloister?
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.