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

On Trial in Saint Louis

That Opera Theatre of Saint Louis fearlessly embraces the cutting edge is once again evidenced by their compelling American premiere of The Trial.

A Traditional Rigoletto in Las Vegas

On June 9, 2017, Opera Las Vegas presented a traditional production of Verdi’s Rigoletto conducted by Music Director Gregory Buchalter with a cast headed by veteran baritone Michael Chioldi. A most convincing Rigoletto, Chioldi was a man in psychological pain from the begining of the opera. His fear and his vulnerability to the whims of the nobility were evident in every meaty, well-colored phrase he sang.

Thumbprint, An Amazing Woman Leaves an Indelible Mark

Thumbprint is the story of the young, innocent and illiterate Mukhtar Mai who was assaulted by a group of powerful men. Following the attack, Mukhtar, having supposedly been disgraced, was expected to commit suicide. Instead, she amazed everyone who knew her by going to the police and calling for the arrest of her attackers.

Kaufmann's first Otello: Royal Opera House, London

Out of the blackness, Keith Warner’s new production of Verdi’s Otello explodes into being with a violent gesture of fury. Not the tempest raging in the pit - though Antonio Pappano conjures a terrifying maelstrom from the ROH Orchestra and the enlarged ROH Chorus hurls a blood-curdling battering-ram of sound into the auditorium. Rather, Warner offers a spot-lit emblem of frustrated malice and wrath, as a lone soldier fiercely hurls a Venetian mask to the ground.

Don Carlo in Marseille

First mounted in 2015 at the Opéra National de Bordeaux this splendid Don Carlo production took stage just now at the Opéra de Marseille with a completely different cast and conductor. This Marseille edition achieved an artistic stature rarely found hereabouts, or anywhere.

Diamanda Galás: Savagery and Opulence

Unconventional to the last, Diamanda Galás tore through her Barbican concert on Monday evening with a torrential force that shattered the inertia and passivity of the modern song recital. This was operatic activism, pure and simple. Dressed in metallic, shimmering black she moved rather stately across the stage to her piano - but there was nothing stately about what unfolded during the next 90 minutes.

Schubert Wanderer Songs - Florian Boesch, Wigmore Hall

A summit reached at the end of a long journey: Florian Boesch and Malcolm Martineau at the Wigmore Hall, as the two-year Complete Schubert Song series draws to a close. Unmistakably a high point in the whole traverse. A well-planned programme of much-loved songs performed exceptionally well, with less well known repertoire presented with intelligent flourish.

La Bohème in San Francisco

In 2008 it was the electrifying conducting of Nicola Luisotti and the famed Mimì of Angela Gheorghiu, in 2014 it was the riveting portrayals of Michael Fabbiano’s Rodolfo and Alexey Markov’s Marcelo. Now, in 2017, it is the high Italian style of Erika Grimaldi’s Mimì — and just about everything else!

A heart-rending Jenůfa at Grange Park Opera

Katie Mitchell’s 1998 Welsh National Opera production of Janáček’s first mature opera, Jenůfa, is a good choice for Grange Park Opera’s first season at its new home, West Horsley Place. Revived by Robin Tebbutt, Mitchell and designer Vicki Mortimer’s 1930s urban setting emphasises the opera’s lack of sentimentality and subjectivism, and this stark realism is further enhanced by the narrow horseshoe design of architect Wasfi Kani’s ‘Theatre in the Woods’ whose towering walls and narrow width seem to add further to the weight of oppression which constricts the lives of the inhabitants.

Pelléas et Mélisande at Garsington Opera

“I am nearer to the greatest secrets of the next world than I am to the smallest secrets of those eyes!” So despairs Golaud, enflamed by jealousy, suspicious of his mysterious wife Mélisande’s love for his half-brother Pelléas. Michael Boyd’s thought-provoking new production of Debussy’s Pelléas et Mélisande at Garsington Opera certainly ponders plentiful secrets: of the conscience, of the subconscious, of the soul. But, with his designer Tom Piper, Boyd brings the opera’s dreams and mysteries into landscapes that are lit, symbolically and figuratively, with precision.

Carmen: The Grange Festival

The Grange Festival, artistic director Michael Chance, has opened at Northington Grange giving everyone a chance to see what changes have arisen from this change of festival at the old location. For our first visit we caught the opening night of Annabel Arden's new production of Bizet's Carmen on Sunday 11 June 2017. Conducted by Jean-Luc Tingaud with the Bournemouth Symphony Orchestra in the pit, the cast included Na'ama Goldman as Carmen, Leonardo Capalbo as Don Jose, Shelley Jackson as Micaela and Phillip Rhodes as Escamillo. There were also two extra characters, Aicha Kossoko and Tonderai Munyevu as Commere and Compere. Designs were by Joanna Parker (costume co-designer Ilona Karas) with video by Dick Straker, lighting by Peter Mumford. Thankfully, the opera comique version of the opera was used, with dialogue by Meredith Oakes.

Don Giovanni in San Francisco

San Francisco Opera revved up its 2011 production of Don Giovanni with a new directorial team and a new conductor. And a blue-chip cast.

Dutch National Opera puts on a spellbinding Marian Vespers

A body lies in half-shadow, surrounded by an expectant gathering. Our Father is intoned in Gregorian chant. The solo voices bloom into a chorus with a joyful flourish of brass.

Into the Wood: A Midsummer Night's Dream at Snape Maltings

‘I know a bank where the wild thyme blows, Where Oxlips and the nodding Violet grows.’ In her new production of Britten’s A Midsummer Night’s Dream, Netia Jones takes us deep into the canopied groves of Oberon’s forest, luring us into the nocturnal embrace of the wood with a heady ‘physick’ of disorientating visual charms.

Rigoletto in San Francisco

Every once in a while a warhorse redefines itself. This happened last night in San Francisco when Rigoletto propelled itself into the ranks of the great masterpieces of opera as theater — the likes of Falstaff and Tristan and Rossini’s Otello.

My Fair Lady at Lyric Opera of Chicago

In its spring musical production of Alan Jay Lerner and Frederick Loewe’s My Fair Lady Lyric Opera of Chicago has put together an ensemble which does ample justice to the wit and lyrical beauty of the well-known score.

Henze: Elegie für junge Liebende

Hans Werner Henze’s compositions include ten fine symphonies, various large choral and religious works, fourteen ballets (among them one, Undine, that ranks the greatest of modern times), numerous prominent film scores, and hundreds of additional works for orchestra, chamber ensemble, solo instruments or voice. Yet he considered himself, above all, a composer of opera.

Werther at Manitoba Opera

If opera ultimately is about bel canto, then one need not look any further than Manitoba Opera’s company premiere of Massenet’s Werther, its lushly scored portrait of an artist as a young man that also showcased a particularly strong cast of principal artists. Notably, all were also marking their own role debuts, as well as this production being the first Massenet opera staged by organization in its 44-year history.

Seattle: A seamlessly symphonic L’enfant

Seattle Symphony’s “semi-staged” presentation of L’enfant et les sortilèges was my third encounter with Ravel’s 1925 one-act “opera.” It was incomparably the most theatrical, though the least elaborate by far.

Der Rosenkavalier: Welsh National Opera in Cardiff

Olivia Fuchs' new production of Richard Strauss's Der Rosenkavalier is a co-production between Welsh National Opera and Theater Magdeburg. The production debuted in Magdeburg last year and now Welsh National Opera is presenting the production as part of its Summer season, the company's first Der Rosenkavalier since 1990 (when the cast included Rita Cullis as the Marschallin and Amanda Roocroft making her role debut as Sophie).

OPERA TODAY ARCHIVES »

Performances

24 Jun 2013

Hänsel und Gretel - Garsington Opera at Wormsley

Engelbert Humperdinck and his sister Adelheid Wette rather softened the story when they came to write the opera Hansel und Gretel, though sufficient undercurrents remain to allow a director scope for exploration of the more psychological aspects of the story.

Engelbert Humperdinck : Hänsel und Gretel

Father - William Dazely, Mother - Yvonne Howard, Hansel - Claudia Huckle, Gretel - Anna Devin, Witch - Susan Bickley, Sandman - Rhiannon Llewellyn, Dew Fairy - Ruth Jenkins; Conductor - Martin Andre; Director - Olivia Fuchs; Designer - Niki Turner; Lighting Designer - Bruno Poet; Movement/Assistant Director - Sarah Fahie; Garsington Opera at Wormsley, 23rd June 2013

 

So I had high hopes of the new production for Olivia Fuchs’ new production, designed by Niki Turner, which opened at Garsington Opera on Sunday 23 June 2013 with Anna Devin as Gretel, Claudia Huckle as Hänsel, William Dazeley as Father, Yvonne Howard as Mother, Susan Bickley as the Witch, Rhiannon Llewellyn as the Sandman and Ruth Jenkins as the Dew Fairy, conducted by Martin Andre.

The new Garsington Opera stage is open plan, without flies and wings, and you can see through the transparent walls of the opera pavilion to the surrounding woods. Fuchs and Turner capitalized on this by bringing the woods into the theatre with a permanent set of trees surrounding a huge open book of Grimms fairy tales. For each scene the book opened to rather magically reveal the set (Hänsel and Gretel’s house, the witch’s house).

The opera effectively started before a note of the overture was played, because the five angels (black coated and hatted actors) were walking about the auditorium. These were constant presence throughout the opera. To a certain extent they were a necessary evil, because someone needed to change the sets. But they also interfered with the action and and watched it, though it was never quite clear who they were. During the witch’s ride (between acts one and two) they donned masks and careered round the stage, during act two they put on animal heads and helped scare the children and during the dream sequence at the start of act three they appeared with huge wings, as angels proper. They seemed to be a-moral watchers, and somewhat creepy, rather than benevolent beings.

One weakness of the staging was in the orchestral interludes (the witch’s ride and the dream sequence) what was happening in the pit was far more dramatically interesting than the action on stage. The basic concept behind the production was quite magical, with the opening and closing of the book as the basis for a performance of Hänsel und Gretel. Fuchs and Turner created an imaginatively fun evening. But, as I have said, there are undercurrents to the story which were acknowledged in different ways by David Pountney’s famous production for ENO and, more recently, in Richard Jones’s very different take on the opera for WNO (also seen at the Metropolitan Opera in New York).

Fuchs and Turner’s iconography seemed to hint at possibilities, but was never fully resolved. During the overture the angels ‘helped’ Hänsel and Gretel to discover a 1950’s TV set which the children watched avidly. When the captive children were discovered at the witch’s house they were also engrossed in watching a TV set, but this was never explained.

Similarly, elements from Hänsel and Gretel’s life were displayed on a bigger and bigger scale as the opera progressed so that the witch’s hut was surrounded by giant cakes, sweets, Gretl’s doll and the stove from the house in act one. The children’s dream at the start of act three consisted of cake and more cake, with the angels bringing on ever bigger cakes. Then at the end of the opera the angels fed the now revived children with real cakes (eaten with some relish).

Whatever the questions posed by the opera Hänsel und Gretel, Fuchs and Turner seemed to be saying that the answer was cake. The opera is surely more complex than that. This weakness seemed to be personified by the witch, played by Susan Bickley as a glamorous candy-floss haired, champagne swigging figure. Even when Bickley took her wig off to reveal a bald head, she was not terrifying (in fact she resembled a character from the TV series ‘Eurotrash’). Now, I know that Bickley can be terrifying, I’ve just seen her playing Ortrud in Lohengrin at WNO. So this soft edged, fun version of the witch must have been deliberate. In the right dramatic hands, the witch can dominate the opera, even though the role is relatively short. But here, even though Bickley sang very finely, the character was hardly a tour de force.

This was all the more frustrating as Fuchs depiction of the Sandman at the end of act two (finely sung by Rhiannon Llewellyn) had been genuinely creepy and avoided the cutesy. That said, the opera was imaginatively presented and the audience clearly loved the fun side of it, helped by some very fine personen regie.

Devin and Huckle made a believable Hansel and Gretel, recognizably childish in their personalities and certainly not good. Sometimes the action of act one can seem a little awkward and arch, but here Fuchs developed a fine naturalistic relationship between Devin and Huckle. Huckle made one of the most believable boyish Hänsels I have seen in a long time and Devin was certainly no cute, goody two-shoes Gretel. The set pieces were well sung and the two singers were well balanced, and gave completely engaging performances. Unlike some performances, acts one and two positively flew by.

It helped that in Yvonne Howard and William Dazeley we had a mother and father who combined musicality with a dramatically edgy relationship. Dazeley played father as a drunk who clearly beat and sexually abused his wife, and the two seemed to have a troubling co-dependent relationship. It was this which was the scariest part of the opera, Fuchs seemed to be saying that fantasy was nowhere near as dangerous as real life.

Both Rhiannon Llewellyn, as the Sandman, and Ruth Jenkins as the Dew Fairy, contributed beautifully poised accounts of their arias. The school children from Old Palace School and Trinity Boys Choir were enthusiastic participants in Fuchs lively activities and delivered their choruses nicely.

In the pit, Martin Andre drew warm and sophisticated playing from the Garsington Opera Orchestra. The opera is quite heavily scored, after all Humperdinck was a disciple of Wagner’s, but Andre ensured that the balance always worked well and that the singers were well supported but never had to struggle to dominate the orchestra. It is easy to dismiss Hänsel und Gretel as kitsch fun, but clearly Andre and Fuchs took the opera seriously and drew very strong performances from the cast. If only Fuchs had dared to give us the darker vision that she hinted at.

Robert Hugill

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):