09 Jun 2013
Les Contes d’Hoffmann in San Francisco
Just when you thought the protagonist was Hoffmann! Who, rather what stole the show?
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw Orchestra’s season with a slightly uneven performance of Mahler’s Resurrection Symphony. With four planned, this staple repertoire for the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful production. With magnificent voices, Andreas Schager and Dorothea Röschmann rescued Michael Thalheimer’s grotesque staging of von Weber’s Der Freischütz. At Staatsoper Unter den Linden, Alexander Soddy led a richly detailed, transparent and brilliantly glowing Berliner Staatskapelle.
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an intriguing American double bill of rarities. An experience that was well worth the trip to this desolate ghost town, remnant of industrial West Germany.
Just when you thought the protagonist was Hoffmann! Who, rather what stole the show?
No surprises here, it was the Laurent Pelly production that originated in 2005 on a small stage in Lausanne before moving to Lyon’s Opéra Nouvel. Just now its seemingly countless animate components have been transformed to a new production of the scope to inhabit Barcelona’s Liceu and San Francisco’s War Memorial. And it is still a living organism with its own intelligence. Maybe it is even smarter than Offenbach.
Not that Offenbach has not gotten a lot smarter over the years, subject to the scrutiny of researchers, scholars, editors, not to mention those who have finished, fixed and improved the mess that Offenbach left behind. Finally stage directors have the task of actually putting it on the stage in some fashion they think is coherent. And the fun continues.
Strange to say this potentially magnificent work has come to the War Memorial stage in but two earlier incarnations, a 1944 version repeated in 1945 and 1949, and a 1987 version directed by Lotfi Mansouri. Christopher Alden directed a 1996 version that was mounted in the Civic Auditorium because the War Memorial was closed for earthquake repairs. This production was based on the artistically correct, read de rigueur Michael Kaye and Jean-Christophe Keck edition as rendered in a 1993 production at Long Beach Opera directed by David Alden.
The Kaye-Keck edition is of course the basis for the 2005 Pelly production, with Lausanne and Lyon’s own particular blend of non-Offenbach recitatives and dialogues. Needless to say seven years later Laurent Pelly has rethought it a bit for Barcelona, and now it is further adapted for San Francisco. You get the idea. We could get lost in detail.
Pelly’s production is magnificent, making E.T.A. Hoffmann’s short horror stories into a dream fantasy where anything real becomes surreal, where anything physical is ephemeral. There is no time because there is no place. Images appear and disappear without a logic, as stream-of-unconscious.
Pelly’s conceit is based on the Olympia episode, on Spalanzani’s mechanics where magic dissolves into stagecraft when Olympia is revealed as a manipulation of three stagehands. We then become conscious that the continuous flow of images is effected by the most basic level of stage mechanics — men pushing scenery and men pulling ropes. And we become even more amazed by the intelligence behind the when and how of it all.
Steven Cole as Cochenille, Hye Jung Lee as Olympia and Thomas Glenn as Spalanzani
It is a diabolical staging in an opera where there is nothing but diabolical manipulation of, uhm, nothing. Something like quantum mechanics maybe.
There is the glue that holds all this together, and that is mere Offenbach, the minor genius who was a major genius, who made trivial musical magic into powerful emotional statements. Conductor Patrick Fournillier realized this Offenbach utilizing the ample voice of the San Francisco Opera Orchestra, exploiting thought rather than sentiment by driving fast tempos, emotion rather than atmosphere by probing depth of tone — assignments this formidable orchestra relished. The pit had a big job indeed. It had to supply the colors, abstract and real, that the essentially dark monotone set left undefined. It succeeded.
And there is the lubrication allowing the Pelly mechanics to flow. This of course would be the voices of the actors. American tenor Matthew Polenzani had the daunting task of making us feel the pain of the destruction of illusion. It is a lot of singing, and he made it to the end with apparent ease. Mr. Polenzani is a light lyric tenor, a voice that does not boast the strain that makes a large-scale lyric tenor exciting. Though a beautifully acted performance, and in fact a beautifully sung performance it did not propel us to confusion, disillusion and exhaustion, the fulfillment of Hoffmann’s love.
Matthew Polenzani is a star, not to forget Laurent Pelly, so it is inexplicable why San Francisco Opera felt it needed an additional star to illustrate its aspiration to be a big-time opera company. Soprano Natalie Dessay sang a waif-like Antonia, the only one of the heroines this estimable artist can still negotiate. She did deliver vocally with sure, proven technique. Though if there are to be three sopranos for the opera, one would surely prefer a full lyric for this role. Mme. Dessay did give us the very real pleasures of a diva presence and crystal clear French.
Irene Roberts as Giulietta
There is great pleasure to be had in hearing young singers with beautiful, well-used voices. Bass Christian Van Horn, last fall’s Angelotti in Tosca, almost held his own in fulfilling the star quality needed for the four villains. Soprano Hye Jung Lee of Florida Grand Opera’s Young Artist program was adequate as Olympia. Giulietta was Irene Roberts who was Fresno Opera’s Carmen. Angela Brower, a member of the Bavarian State Opera ensemble disappointed as Nicklausse, lacking the requisite richness of voice for this trouser role and necessary presence to hold the stage for such an extended period of time.
Casting of the myriad of additional roles ranged from star turns, like the casting of Steven Cole as the four servants, to the pallid Spalanzani of Thomas Glenn and lackluster Crespel of James Creswell. The Adlers did their usual fine service in other roles, especially Hadleigh Adams as Schlemil.
The Pelly production needed more powerful presences all around to liberate our minds and hearts from its brilliant stage mechanics and allow its devilish design to take flight. The San Francisco Opera Orchestra alone could not accomplish this. It could have been done.
Cast and production information:
Hoffmann: Matthew Polenzani; The Muse/Nicklausse: Angela Brower; Coppélius, Dapertutto, Dr. Miracle, Lindorf: Christian Van Horn; Antonia: Natalie Dessay; Olympia: Hye Jung Lee; Giulietta: Irene Roberts; Stella: Jacqueline Piccolino; Frantz, Andrès, Cochenille, Pittichinaccio: Steven Cole; Nathanaël: Matthew Grills; Spalanzani: Thomas Glenn; Crespel: James Creswell; Hermann: Joo Won Kang; Luther, Schlemil: Hadleigh Adams. Chorus and Orchestra of San Francisco Opera. Conductor: Patrick Fournillier. Director: Laurent Pelly; Set Design: Chantal Thomas; Costumes: Laurent Pelly; Lighting Design: Joël Adam. Production photos by Cory Weaver courtesy of San Francisco Opera. War Memorial Opera House, June 5, 2013.