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

European premiere of Unsuk Chin’s Le Chant des enfants des étoiles, with works by Biber and Beethoven

Excellent programming: worthy of Boulez, if hardly for the literal minded. (‘I think you’ll find [stroking chin] Beethoven didn’t know Unsuk Chin’s music, or Heinrich Biber’s. So … what are they doing together then? And … AND … why don’t you use period instruments? I rest my case!’)

Rising Stars in Concert 2018 at Lyric Opera of Chicago

On a recent weekend evening the performers in the current roster of the Patrick G. and Shirley W. Ryan Opera Center at Lyric Opera of Chicago presented a concert of operatic selections showcasing their musical talents. The Lyric Opera Orchestra accompanied the performers and was conducted by Edwin Outwater.

Arizona Opera Presents a Glittering Rheingold

On April 6, 2018, Arizona Opera presented an uncut performance of Richard Wagner’s Das Rheingold. It was the first time in two decades that this company had staged a Ring opera.

Handel's Teseo brings 2018 London Handel Festival to a close

The 2018 London Handel Festival drew to a close with this vibrant and youthful performance (the second of two) at St George’s Church, Hanover Square, of Handel’s Teseo - the composer’s third opera for London after Rinaldo (1711) and Il pastor fido (1712), which was performed at least thirteen times between January and May 1713.

The Moderate Soprano

The Moderate Soprano and the story of Glyndebourne: love, opera and Nazism in David Hare’s moving play

The Spirit of England: the BBCSO mark the centenary of the end of the Great War

Well, it was Friday 13th. I returned home from this moving and inspiring British-themed concert at the Barbican Hall in which the BBC Symphony Orchestra and conductor Sir Andrew Davis had marked the centenary of the end of World War I, to turn on my lap-top and discover that the British Prime Minister had authorised UK armed forces to participate with French and US forces in attacks on Syrian chemical weapon sites.

Thomas Adès conducts Stravinsky's Perséphone at the Royal Festival Hall

This seemed a timely moment for a performance of Stravinsky’s choral ballet, Perséphone. April, Eliot’s ‘cruellest month’, has brought rather too many of Chaucer’s ‘sweet showers [to] pierce the ‘drought of March to the root’, but as the weather finally begins to warms and nature stirs, what better than the classical myth of the eponymous goddess’s rape by Pluto and subsequent rescue from Hades, begetting the eternal rotation of the seasons, to reassure us that winter is indeed over and the spirit of spring is engendering the earth.

Dido and Aeneas: La Nuova Musica at Wigmore Hall

This performance of Purcell’s Dido and Aeneas by La Nuova Musica, directed by David Bates, was, characteristically for this ensemble, alert to musical details, vividly etched and imaginatively conceived.

Bernstein's MASS at the Royal Festival Hall

In 1969, Mrs Aristotle Onassis commissioned a major composition to celebrate the opening of a new arts centre in Washington, DC - the Kennedy Center for the Performing Arts, named after her late husband, President John F. Kennedy, who had been assassinated six years earlier.

Hans Werner Henze : The Raft of the Medusa, Amsterdam

This is a landmark production of Hans Werner Henze's Das Floß der Medusa (The Raft of the Medusa) conducted by Ingo Metzmacher in Amsterdam earlier this month, with Dale Duesing (Charon), Bo Skovhus and Lenneke Ruiten, with Cappella Amsterdam, the Nieuw Amsterdams Kinderen Jeugdkoor, and the Netherlands Philharmonic Orchestra, in a powerfully perceptive staging by Romeo Castellucci.

Johann Sebastian Bach, St John Passion, BWV 245

This was the first time, I think, since having moved to London that I had attended a Bach Passion performance on Good Friday here.

Easter Voices, including mass settings by Mozart and Stravinsky

It was a little early, perhaps, to be hearing ‘Easter Voices’ in the middle of Holy Week. However, this was not especially an Easter programme – and, in any case, included two pieces from Gesualdo’s Tenebrae responsories for Good Friday. Given the continued vileness of the weather, a little foreshadowing of something warmer was in any case most welcome. (Yes, I know: I should hang my head in Lenten shame.)

Academy of Ancient Music: St John Passion at the Barbican Hall

‘In order to preserve the good order in the Churches, so arrange the music that it shall not last too long, and shall be of such nature as not to make an operatic impression, but rather incite the listeners to devotion.’

Fiona Shaw's The Marriage of Figaro returns to the London Coliseum

The white walls of designer Peter McKintosh’s Ikea-maze are still spinning, the ox-skulls are still louring, and the servants are still eavesdropping, as Fiona Shaw’s 2011 production of The Marriage of Figaro returns to English National Opera for its second revival. Or, perhaps one should say that the servants are still sleeping - slumped in corridors, snoozing in chairs, snuggled under work-tables - for at times this did seem a rather soporific Figaro under Martyn Brabbins’ baton.

Lenten Choral Music from the Choir of King’s College, Cambridge

Time was I could hear the Choir of King’s College, Cambridge almost any evening I chose, at least during term time. (If I remember correctly, Mondays were reserved for the mixed voice King’s Voices.)

A New Faust at Lyric Opera of Chicago

Lyric Opera of Chicago’s innovative, new production of Charles Gounod’s Faust succeeds on multiple levels of musical and dramatic representation. The title role is sung by Benjamin Bernheim, his companion in adventure Méphistophélès is performed by Christian Van Horn.

Netrebko rules at the ROH in revival of Phyllida Lloyd's Macbeth

Shakespeare’s Macbeth is a play of the night: of dark interiors and shadowy forests. ‘Light thickens, and the crow/Makes wing to th’ rooky wood,’ says Macbeth, welcoming the darkness which, whether literal or figurative, is thrillingly and threateningly palpable.

San Diego’s Ravishing Florencia

Daniel Catán’s widely celebrated opera, Florencia en el Amazonas received a top tier production at the wholly rejuvenated San Diego Opera company.

Samantha Hankey wins Glyndebourne Opera Cup

Four singers were awarded prizes at the inaugural Glyndebourne Opera Cup, which reached its closing stage at Glyndebourne on 24th March. The Glyndebourne Opera Cup focuses on a different single composer or strand of the repertoire each time it is held. In 2018 the featured composer was Mozart and the Orchestra of the Age of Enlightenment accompanied the ten finalists.

Handel's first 'Israelite oratorio': Esther at the London Handel Festival

It’s sometimes suggested that it was the simultaneous decline of the popularity of Italian opera seria among Georgian audiences and, in consequence, of the fortunes of Handel’s Royal Academy King’s Theatre, that led the composer to turn his hand to oratorio in English, the genre which would endear him to the hearts of the nation.

OPERA TODAY ARCHIVES »

Performances

Matthew Polenzani as Hoffmann and Natalie Dessay as Antonia [Photo by Cory Weaver courtesy of San Francisco Opera]
09 Jun 2013

Les Contes d’Hoffmann in San Francisco

Just when you thought the protagonist was Hoffmann! Who, rather what stole the show?

Les Contes d’Hoffmann in San Francisco

A review by Michael Milenski

Above: Matthew Polenzani as Hoffmann and Natalie Dessay as Antonia

Photos by Cory Weaver courtesy of San Francisco Opera

 

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.

HoffmannFDR_6.pngSteven 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.

HoffmannFDR_10.pngIrene 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.

Michael Milenski


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.

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):