Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Music for a While: Rowan Pierce and Christopher Glynn at Ryedale Online

“Music for a while, shall all your cares beguile.”

A Musical Reunion at Garsington Opera

The hum of bees rising from myriad scented blooms; gentle strains of birdsong; the cheerful chatter of picnickers beside a still lake; decorous thwacks of leather on willow; song and music floating through the warm evening air.

'In my end is my beginning': Mark Padmore and Mitsuko Uchida perform Winterreise at Wigmore Hall

All good things come to an end, so they say. Let’s hope that only the ‘good thing’ part of the adage is ever applied to Wigmore Hall, and that there is never any sign of ‘an end’.

Iestyn Davies and Elizabeth Kenny bring 'sweet music' to Wigmore Hall

Countertenor Iestyn Davies and lutenist Elizabeth Kenny kicked off the final week of live lunchtime recitals broadcast online and on radio from Wigmore Hall.

From Our House to Your House: live from the Royal Opera House

I’m not ashamed to confess that I watched this live performance, streamed from the stage of the Royal Opera House, with a tear in my eye.

Woman’s Hour with Roderick Williams and Joseph Middleton at Wigmore Hall

At the start of this lunchtime recital, Roderick Williams set out the rationale behind the programme that he and pianist Joseph Middleton presented at Wigmore Hall, bringing to a close a second terrific week of live lunchtime broadcasts, freely accessible via Wigmore Hall’s YouTube channel and BBC Radio 3.

Natalya Romaniw - Arion: Voyage of a Slavic Soul

Sailing home to Corinth, bearing treasures won in a music competition, the mythic Greek bard, Arion, found his golden prize coveted by pirates and his life in danger.

Purcell’s The Indian Queen from Lille

Among the few compensations opera lovers have had from the COVID crisis is the abundance – alas, plethora – of streamed opera productions we might never have seen or even known of without it.

Philip Venables' Denis & Katya: teenage suicide and audience complicity

As an opera composer, Philip Venables writes works quite unlike those of many of his contemporaries. They may not even be operas at all, at least in the conventional sense - and Denis & Katya, the most recent of his two operas, moves even further away from this standard. But what Denis & Katya and his earlier work, 4.48 Psychosis, have in common is that they are both small, compact forces which spiral into extraordinarily powerful and explosive events.

A new, blank-canvas Figaro at English National Opera

Making his main stage debut at ENO with this new production of The Marriage of Figaro, theatre director Joe Hill-Gibbins professes to have found it difficult to ‘develop a conceptual framework for the production to inhabit’.

Massenet’s Chérubin charms at Royal Academy Opera

“Non so più cosa son, cosa faccio … Now I’m fire, now I’m ice, any woman makes me change colour, any woman makes me quiver.”

Bluebeard’s Castle, Munich

Last year the world’s opera companies presented only nine staged runs of Béla Bartòk’s Bluebeard’s Castle.

The Queen of Spades at Lyric Opera of Chicago

If obsession is key to understanding the dramatic and musical fabric of Tchaikovsky’s opera The Queen of Spades, the current production at Lyric Opera of Chicago succeeds admirably in portraying such aspects of the human psyche.

WNO revival of Carmen in Cardiff

Unveiled by Welsh National Opera last autumn, this Carmen is now in its first revival. Original director Jo Davies has abandoned picture postcard Spain and sun-drenched vistas for images of grey, urban squalor somewhere in modern-day Latin America.

Lise Davidsen 'rescues' Tobias Kratzer's Fidelio at the Royal Opera House

Making Fidelio - Beethoven’s paean to liberty, constancy and fidelity - an emblem of the republican spirit of the French Revolution is unproblematic, despite the opera's censor-driven ‘Spanish’ setting.

A sunny, insouciant Così from English Touring Opera

Beach balls and parasols. Strolls along the strand. Cocktails on the terrace. Laura Attridge’s new production of Così fan tutte which opened English Touring Opera’s 2020 spring tour at the Hackney Empire, is a sunny, insouciant and often downright silly affair.

A wonderful role debut for Natalya Romaniw in ENO's revival of Minghella's Madama Butterfly

The visual beauty of Anthony Minghella’s 2005 production of Madama Butterfly, now returning to the Coliseum stage for its seventh revival, still takes one’s breath away.

Charlie Parker’s Yardbird at Seattle

It appears that Charlie Parker’s Yardbird has reached the end of its road in Seattle. Since it opened in 2015 at Opera Philadelphia it has played Arizona, Atlanta, Chicago, New York, and the English National Opera.

La Périchole in Marseille

The most notable of all Péricholes of Offenbach’s sentimental operetta is surely the legendary Hortense Schneider who created the role back in 1868 at Paris’ Théâtre des Varietés. Alas there is no digital record.

Three Centuries Collide: Widmann, Ravel and Beethoven

It’s very rare that you go to a concert and your expectation of it is completely turned on its head. This was one of those. Three works, each composed exactly a century apart, beginning and ending with performances of such clarity and brilliance.

OPERA TODAY ARCHIVES »

Performances

Rebecca Nelsen as Konstanze [Photo by Johan Persson courtesy of Garsington Opera 2013]
10 Jun 2013

Die Entführung aus dem Serail, Garsington Opera at Wormsley

Die Entführung aus dem Serail at Garsington Opera at Wormsley isn’t Mozart as you’d expect but it’s true to the spirit of Mozart who loved witty, madcap japes.

Die Entführung aus dem Serail, Garsington Opera at Wormsley

A review by Anne Ozorio

Above: Rebecca Nelsen as Konstanze

Photos by Johan Persson courtesy of Garsington Opera 2013

 

The Singspiel is a comedy with an improbable plot. How did a nice girl like Konstanze get mixed up with a Turk? How does a tyrant suddenly turn into Good Guy? Daniel Slater’s imaginative invention might not follow the score note by note but it reaches the free-wheeling, zany spirit of the comedy Audiences should have the maturity to realize that the opera is strong enough to support different perspectives. Beckmesser would explode in a frenzy of fury. Mozart, though, would be cackling with delight.

Mozart didn’t encounter many real-life Pashas. Selim is a man of formidable wealth and power. Men this rich aren’t in touch with reality. They’re isolated in their places, guarded by paranoid henchmen. They don’t do things like normal people. Turning Selim into an oligarch isn’t mere updating. It’s a perceptive reading of the personality type. This Selim (Aaron Neil) likes football. “I built my house near the stadium. Or did I build the stadium near my house”. This deepens the portrayal and is an opportunity for good visual effects. The backdrop suddenly opens and a real Jaguar is driven onstage! This is Wormsley after all, where they do things in grand style. Football also serves as plot device. It makes Selim human. Osmin (Matthew Rose) can see through Belmonte (Norman Reinhardt) and Pedrillo (Mark Wilde), because they know his weak spot. When Selim’s team win a match, he drops Konstanze, as easily as a child moves on to a new toy. The contrived ending becomes perfectly logical.

Slater replaces the German spoken dialogue with multi-lingual banter. Why not ? How did the “Turks” communicate with the “foreigners”? When Osmin says “Ich hass Englander!” the audience laughs, but the idea springs from the original libretto. In the Vienna of Joseph II, England represented liberty. Osmin isn’t so much a Turk as an agent of repression. Thus Blonde sings “Ich bin eine Engländerin, zur Freiheit geboren”. It’s doubly funny when we know that Susanna Andersson is Swedish and is cooking up a sokker kaka. Her mistress is being preened in a spa where calories are seditious. The new dialogue is fast-paced and funny even when the jokes are deliberately hammy. Comedy subverts.

“Ein Herz, so in Freiheit geboren
Läßt niemals sich sklavisch behandeln
Bleibt, wenn schon die Freiheit verloren,
Noch stolz auf sie, lachet der Welt!”

Matthew-Rose-Osmin-Susanna-Andersson-Blonde-Garsington-Opera-Chorus-in-Die-Entfuhrung-aus-dem-Serail-Garsington-Opera-2013-credit-Johan-Persson.pngMatthew Rose as Osmin and Susanna Andersson as Blonde

Garsington Opera at Wormsley is a good size for Mozart and Douglas Boyd, the new Artistic Director, has spoken of its potential as a house for Mozart. (read the interview here). The musical standards in this Die Entführung aus dem Serail were very high. Matthew Rose’s Osmin was so well-defined that his performance would be impressive even in a much larger auditorium. He has been singing with Garsington Opera since the early days of his career. The company prides itself on nurturing young talent and singers remain loyal. Rose and Susanna Andersson made a striking pair. He’s very tall, and she’s very short, reflecting the imbalance of power. Both are equal as singers. Together they duelled as much as duetted. Although the bigger ensembles usually attract more attention, the conflict between Osmin and Blonde is the critical heart of the opera.

Rebecca Nelsen sang a feisty Konstanze. In the torture scene, she’s seen sitting in the same reclining chair she used in the spa. Now it’s an instrument of torture, the ideas not unconnected. Mozart writes tension into the music to suggest extremes of pain and screaming. Nelsen’s “Marten aller Arten” felt vivid, as if she were shaking with the effect of electric shock, though she maintained the proper flow.

Mark Wilde’s Pedrillo was as well acted as sung, with sharp control of fast-paced dialogue. Incidentally the speech rhythms in the dialogue mirrored the way Mozart sets the brisk, punchy vocal lines. Norman Reinhardt sang a laconic Belmonte. William Lacey conducted with brio.

Much credit must go to Francis O’Connor who designed the set. There isn’t much backstage area at Wormsley, since the pavilion was designed as a temporary structure. O’Connor’s simple backdrop suggest an impenetrable wall when Belmonte stands alone before it. Later segments pop in and out through recessed compartments. One becomes a lift which suggests movement beyond the stage, though it’s of course illusion. When the conspirators escape the guards, the guards are seen watching football in security control. The torture scene was particularly well executed, though that’s perhaps the wrong choice of words. The same compartment which had served as the lift and the entrance for the Jag became a claustrophobic room in stark black and white. Stagecraft rarely gets the attention it deserves, but it makes good drama possible. At Garsington Opera at Wormsley, technical facilities may not be huge, but they are used very effectively.

Anne Ozorio


Production and cast information:

Belmonte: Norman Reinhardt; Konstanze: Rebecca Nelsen; Pedrillo: Mark Wilde; Blonde: Susanna Andersson; Osmin: Matthew Rose; Bassa Selim: Aaron Neil. Garsington Opera Orchestra and Chorus. Conductor: William Lacey. Director: Daniel Slater. Designer: Francis O’Connor. Lighting Designer: Rick Fisher.

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):