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

Bartoli a dream Cenerentola in Amsterdam

With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.

Winterreise : a parallel journey

Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.

Anna Bolena in Lisbon

Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.

Oh, What a Night in San Jose

It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.

Billy Budd in Madrid

Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.

A riveting Nixon in China at the Concertgebouw

American composer John Adams turns 70 this year. By way of celebration no less than seven concerts in this season’s NTR ZaterdagMatinee series feature works by Adams, including this concert version of his first opera, Nixon in China.

English song: shadows and reflections

Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.

A charming Pirates of Penzance revival at ENO

'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.

A Relevant Madama Butterfly

On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.

Johan Reuter sings Brahms with Wiener Philharmoniker

In the last of my three day adventure, I headed to Vienna for the Wiener Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.

Gatti and the Royal Concertgebouw Orchestra Head to Asia

In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the Royal Concertgebouw, Daniele Gatti, came together for their first engagement in a ravishing performance of Berg’s Violin Concerto.

Verdi’s Requiem with the Berliner Philharmoniker

I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and Wiener Philharmoniker, to hear these three top orchestra perform their series programmes opening the New Year.

Jeanne d'Arc au bûcher in Lyon

There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.

A New Look at Mozart’s Abduction from the Seraglio

On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.

Giasone in Geneva

Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.

Falstaff in Genoa

A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.

Traviata in Seattle

One of Aidan Lang’s first initiatives as artistic director of Seattle Opera was to encourage his board to formulate a “mission statement” for the fifty-year old company. The document produced was clear, simple, and anodyne. Seattle Opera would aim above all to create work appealing both to the emotions and reason of the audience.

Wagner at the Deutsche Oper Berlin Part II: Kasper Holten’s angelic Lohengrin

Contrary to Stolzi’s multidimensional Parsifal, Holten’s simple setting of Lohengrin felt timeless with its focus on the drama between characters. Premiering in 2012, nothing too flashy and with a clever twist,

Wagner at the Deutsche Oper Berlin Part I: Stölzl’s Psychedelic Parsifal

Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner productions. This Fall, its productions of Philipp Stölzl's Parsifal and Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it comes down to last minute replacements, the casting is topnotch.

Donna abbandonata: Temple Song Series

Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.

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):