Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Daniel Michieletto's Cav and Pag returns to Covent Garden

It felt rather decadent to be sitting in an opera house at 12pm. Even more so given the passion-fuelled excesses of Pietro Mascagni’s Cavalleria Rusticana and Ruggero Leoncavallo’s Pagliacci, which might seem rather too sensual and savage for mid-day consumption.

Manitoba Opera: Madama Butterfly

Manitoba Opera opened its 45th season with Puccini’s Madama Butterfly proving that the aching heart as expressed through art knows no racial or cultural divide, with the Italian composer’s self-avowed favourite opera still able to spread its poetic wings across time and space since its Milan premiere in 1904.

Ian Bostridge and Julius Drake celebrate 25 years of music-making

In 1992, concert promoter Heinz Liebrecht introduced pianist Julius Drake to tenor Ian Bostridge and an acclaimed, inspiring musical partnership was born. On Wenlock Edge formed part of their first programme, at Holkham Hall in Norfolk; and, so, in this recital at Middle Temple Hall, celebrating their 25 years of music-making, the duo included Vaughan Williams’ Housman settings for tenor, piano and string quartet alongside works with a seventeenth-century origin or flavour.

Girls of the Golden West in San Francisco

Not many (maybe any) of the new operas presented by San Francisco Opera over the past 10 years would lure me to the War Memorial Opera House a second time around. But for Girls of the Golden West just now I would be there again tomorrow night and the next, and I am eagerly awaiting all future productions.

DiDonato is superb in Semiramide at Covent Garden

It’s taken a while for Rossini’s Semiramide to reach the Covent Garden stage. The last of the operas which Rossini composed for Italian theatres between 1810-1823, Semiramide has had only one outing at the Royal Opera House since 1887, and that was a concert version in 1986.

Philippe Jaroussky and Ensemble Artaserse at the Wigmore Hall

‘His master’s masterpiece, the work of heaven’: ‘a common fountain’ from which flow ‘pure silver drops’. At the risk of effulgent hyperbole, I’d suggest that Antonio’s image of the blessed governance and purifying power of the French court - in the opening scene of Webster’s The Duchess of Malfi - is also a perfect metaphor for the voice of French countertenor Philippe Jaroussky, as it slips through Handel’s roulades like a silken ribbon.

La Rondine Takes Flight in San Jose

Kudos to San Jose Opera for offering up a wholly winning, consistently captivating new production of Puccini’s seldom performed La Rondine.

Clonter Opera Gala

Clonter’s Opera Gala in the breath-taking beautiful ball-room at the Lansdowne Club in Mayfair was a glamorously glittering smattering of opera – which made me want to run out to every opera in town.  

A New Die Walküre at Lyric Opera of Chicago

From the start of Lyric Opera of Chicago’s splendid, new production of Richard Wagner’s Die Walküre conflict and resolution are portrayed throughout with moving intensity. The central character Brünnhilde is sung by Christine Goerke and her father Wotan by Eric Owens.

As One a Haunting Success in San Diego

San Diego Opera has mined solid gold with its mesmerizing and affecting production of As One, a part of their innovative ‘Detour Series.’

OLF: Songs by Tchaikovsky, Anton Rubinstein, Rachmaninov and Georgy Sviridov

Compared to the oft-explored world of German lieder and French chansons, the songs of Russia are unfairly neglected in recordings and in the concert hall. The raw emotion and expansive lyricism present in much of this repertoire was clearly in evidence at the Holywell Music Room for the penultimate day of the celebrated Oxford Lieder Festival.

Stockhausen’s STIMMUNG and COSMIC PULSES at the Barbican.

This concert was an event on several levels - marking a decade since the death of Stockhausen, the fortieth anniversary (almost to the day) since Singcircle first performed STIMMUNG (at the Round House), and their final public performance of the piece. It was also a rare opportunity to hear (and see) Stockhausen’s last completed purely electronic work, COSMIC PULSES - an overwhelming visual and aural experience that anyone who was at this concert will long remember.

Nico Muhly's Marnie at ENO

Winston Graham’s 1961 novel Marnie was bold for its time. Its themes of sexual repression, psychological suspense and criminality set within the dark social fabric of contemporary Britain are but outlier themes of the anti-heroine’s own narrative of deceit, guilt, multiple identities and blackmail.

TOSCA: A Dramatic Sing-Fest

On November 12, 2017, Arizona Opera presented Giacomo Puccini’s verismo opera, Tosca, in a dramatic production directed by Tara Faircloth. Her production utilized realistic scenery from Seattle Opera and detailed costumes from the New York City Opera. Gregory Allen Hirsch’s lighting made the set look like the church of St. Andrea as some of us may have remembered it from time gone by.

The Lighthouse: Shadwell Opera at Hackney Showroom

‘Only make the reader’s general vision of evil intense enough … and his own experience, his own imagination, his own sympathy … and horror … will supply him quite sufficiently with all the particulars. Make him think the evil, make him think it for himself, and you are released from weak specifications.’

Elisabeth Kulman sings Mahler's Rückert-Lieder with Sir Mark Elder and the Britten Sinfonia

Austrian singer Elisabeth Kulman has had an interesting career trajectory. She began her singing life as a soprano but later shifted to mezzo-soprano/contralto territory. Esteemed on the operatic stage, she relinquished the theatre for the concert platform in 2015, following an accident while rehearsing Tristan.

Tremendous revival of Katie Mitchell's Lucia at the ROH

The morning sickness, miscarriage and maundering wraiths are still present, but Katie Mitchell’s Lucia di Lammermoor, receiving its first revival at the ROH, seems less ‘hysterical’ this time round - and all the more harrowing for it.

Manon in San Francisco

Nothing but a wall and a floor (and an enormous battery of unseen lighting instruments) and two perfectly matched artists, the Manon of soprano Ellie Dehn and the des Grieux of tenor Michael Fabiano, the centerpiece of Paris’ operatic Belle Époque found vibrant presence on the War Memorial stage.

A beguiling Il barbiere di Siviglia from GTO

I had mixed feelings about Annabel Arden’s production of Il barbiere di Siviglia when it was first seen at Glyndebourne in 2016. Now reprised (revival director, Sinéad O’Neill) for the autumn 2017 tour, the designs remain a vibrant mosaic of rich hues and Moorish motifs, the supernumeraries - commedia stereotypes cum comic interlopers - infiltrate and interact even more piquantly, and the harpsichords are still flying in, unfathomably, from all angles. But, the drama is a little less hyperactive, the characterisation less larger-than-life. And, this Saturday evening performance went down a treat with the Canterbury crowd on the final night of GTO’s brief residency at the Marlowe Theatre.

Brett Dean's Hamlet: GTO in Canterbury

‘There is no such thing as Hamlet,’ says Matthew Jocelyn in an interview printed in the 2017 Glyndebourne programme book. The librettist of Australian composer Brett Dean’s opera based on the Bard’s most oft-performed tragedy, which was premiered to acclaim in June this year, was noting the variants between the extant sources for the play - the First, or ‘Bad’, Quarto of 1603, which contains just over half of the text of the Second Quarto which published the following year, and the First Folio of 1623 - no one of which can reliably be guaranteed superiority over the other.

OPERA TODAY ARCHIVES »

Performances

11 May 2013

Mulhouse: Rare Britten Well Done

National Opera Company of the Rhine has marked this year’s Benjamin Britten celebration with a remarkably compelling, often gripping new production of the seldom-seen Owen Wingrave.

The pacifist Britten wrote the piece for BBC television in 1971, partly as a response to the lingering Viet Nam War which was still raging. The structure of the dramatic episodes, the cross fades written into the transitions, and the contrasting instrumental sounds in the sparsely-scored work were all a consideration of the medium.

Indeed, my one and only experience with the piece was when PBS broadcast the original production in the early 70’s, when television sound was still rather rudimentary. Now encountering the work live in the theatre, I was not prepared for the rich diversity of the instrumental writing, nor for the sonorous ensemble effects. Britten was, of course, not only a master orchestrator, but quite adept at setting texts to good dramatic effect. He was well-served in Mulhouse by cast, band, and production leadership.

L’Opéra national du Rhin has wisely chosen to feature the excellent young members of their Opera Studio program and if the result is any indication, opera has a promising future in France. The title role is a Big Sing, with lots of it lying in the middle voice, and Laurent Deleuil essayed Owen with a well-schooled baritone that boasted a solid technique wedded to a (not overly) warm tone that had substantial presence. If the very top money notes pushed him to the limit, Mr. Deleuil nevertheless had the full arsenal of gifts necessary to score a considerable success as he anchored the production. Laurent is possessed of an easy, unaffected stage deportment and has very clear diction. If ultimately he didn’t yet quite feel the character’s convictions deep in his gut (especially at the start), this was nonetheless a memorable role assumption.

The towering Sévag Tachdjian gave much pleasure in his commanding turn as schoolmaster Coyle. Mr. Tachdjian’s orotund bass-baritone was passionately deployed and was evenly produced throughout the rangy part. But he needs a little more coaching on his pronunciation, since his somewhat odd-sounding vowels and soft consonants made me wonder at first if he was singing, in English. Handsome Jérémy Duffau was a lanky, coltish Lechmere, and his buzzy lyric tenor was engaged, solid, and fluid. He might check his tendency to appear too balletic in his movements in his embodiment of the young soldier.

Mélanie Moussay proved to be an imperious Miss Wingrave, with a distinguished vocal instrument of unanticipated maturity, resonance and power for one so young. Kristina Bitene combined excellent elocution and a wiry, committed demeanor to make Mrs. Julia a riveting personage in the unfolding drama. She also proved to have a reliable, wide-ranging soprano of pleasant bite and with a rock solid technique. Mmes. Moussay, Bitene, and the evening’s “Kate” made their extended trio “(“He will listen to the house”) a real musical highlight.

And speaking of Kate, Marie Cubaynes had much to offer with her dark-hued mezzo including a consistency and pulsing forward motion that served the opinionated, head-strong lass well. Her final duet with Owen was another highly affecting emotional landmark. Guillaume François proved a real “triple threat” as he took on the three roles of Sir Philip, Narrator, and the Phantom. His promising tenor sported a pleasant, steady tone, even if it had a moment or two in legato passages that were a little rough around the edges. Still, his rendition of the unaccompanied “folk song” was hauntingly beautiful, and very well controlled, especially at opera’s close.

Conductor David Syrus had a remarkable night in the pit, wringing every last variation of color from his talented, small band of musicians. That Maestro Syrus is a noted Britten specialist was self-evident based on the exceptional aural results of this performance. Just listen to the nuanced interweaving of text and orchestra, the gossamer sheen of the signature repeated chords, the rhythmic storm of effects he churns up, the inevitable unfolding of the conversational phrases, the effortless deliberation and weight of the ensembles. This was a wholly mesmerizing night of persuasive music-making.

Stage director Christophe Gayral, in tandem with set and lighting designer Eric Soyer were admirable models of restraint, and their modus operandi of “less is more” paid huge dividends. The set was all black legs, sliding doors, levels, and carefully chosen set pieces. On occasion, it suggested an Advent-calendar approach with insets (and characters) revealed, but only as long as they were pertinent.

The evening opened with a dumb-show, first revealing the boy dropping dead to the floor then effectively blending into a foreshadowing of Owen’s funeral. Especially telling was Kate’s fainting with guilt as she goes to place a rose in the blood red funeral spray (in the form of a cross). Of course, we don’t know any of these characters yet, but the scene cleverly gets us to speculate and anticipate the mysteries to come. Renaud Rubiamo has devised a number of gorgeous still projections and video effects, the most stunning being the requisite hall of portraits that at one point come eerily to life.

The only downside of the night was that the seats were only half-filled for this significant musical-dramatic achievement. But there is another chance to partake of its glories. Owen Wingrave will play two more performances this summer in Strasbourg (4 and 6 July). It would be worth the trip.

James Sohre



Cast and production information:

Owen Wingrave: Laurent Deleuil; Spencer Coyle: Sévag Tachdjian; Lechmere: Jérémy Duffau; Miss Wingrave: Mélanie Moussay; Mrs. Julian: Kristina Bitene; Kate: Marie Cubaynes; Sir Philip, Narrator, Phantom: Guillaume François; Boy Ghost: Victor Collin; Conductor: David Syrus; Stage Director: Christophe Gayral; Set and Lighting Design: Eric Soyer; Costume Design: Cidalia Da Costa; Video Design: Renaud Rubiamo

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):