09 Jun 2013
Les Contes d’Hoffmann in San Francisco
Just when you thought the protagonist was Hoffmann! Who, rather what stole the show?
Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.
An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.
On February 19, 2015, Pacific Symphony presented its annual performance of a semi-staged opera. This year’s presentation at the Segerstrom Center for the Arts in Costa Mesa, California, featured Georges Bizet’s Carmen. Director Dean Anthony used the front of the stage and a few solid set pieces by Scenic Designer Matt Scarpino to depict the opera’s various scenes.
Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.
On Friday February 20, 2015, San Diego Opera presented Mozart’s Don Giovanni in a production by Nicholas Muni originally seen at Cincinnati Opera.
In a production first seen in Houston several years ago, and now revised by its director John Caird, Puccini’s Tosca has returned to Lyric Opera of Chicago with two casts, partially different, scheduled into March of the present season.
Henri Dutilleux’s music has its devotees. I am yet to join their ranks, but had no reason to think this was not an admirable performance of his song-cycle Correspondances.
In 1980, the Metropolitan Opera commissioned composer John Corigliano to write an opera celebrating the company’s one-hundredth anniversary. It was to be ready in 1983.
English National Opera’s revival of Peter Konwitschny’s production of Verdi’s La Traviata had many elements in common with the production’s original outing in 2013 (The production was a co-production with Opera Graz, where it had debuted in 2011).
You might believe you could go to an opera and take in what you see at face value. But if you did that just now in Lyon you would have had no idea what was going on.
I wonder whether we need a new way of thinking — and talking — about operatic ‘revivals’. Perhaps the term is more meaningful when it comes to works that have been dead and buried for years, before being rediscovered by subsequent generations.
Hopefully this brilliant new production of Iphigénie en Tauride from the Grand Théâtre de Genève will find its way to the new world now that Gluck’s masterpiece has been introduced to American audiences.
Tristan first appeared on the stage of the Théâtre du Capitole in 1928, sung in French, the same language that served its 1942 production even with Wehrmacht tanks parked in front of the opera house.
Arizona Opera presented Eugene Onegin during and 1999-2000 season and again on February 1 of this year as part of the 2014-2015 season. In this country Onegin is not a crowd pleaser like La Bohème or Carmen, but its story is believable and its music melodic and memorable. Just hum the beginning of the “Polonaise” and your friends will know the music, if not where it comes from.
Florian Boesch and Roger Vignoles at the Wigmore Hall in Ernst Krenek’s Reisebuch aus den österreichischen Alpen. Matthias Goerne has called Hanns Eisler’s Hollywooder Liederbuch the Winterreise of the 20th century. Boesch and Vignoles showed how Krenek’s Reisebuch is a journey of discovery into identity at an era of extreme social change. It is a parable, indeed, of modern times.
Lyric Opera of Chicago’s new Anna Bolena, a production shared with Minnesota Opera, features a distinguished cast including several notable premieres.
On Tuesday January 27, 2015, San Diego Opera presented Giacomo Puccini's La Boheme. It is the opera with which the company opened in 1965 and a work that the company has faithfully performed every five years since then.
Last year we tracked Orfeo on his desperate search for his lost Euridice, through the labyrinths and studio spaces of Central St Martin’s; this year we were plunged into Macbeth’s tragic pursuit of power in the bare blackness of the CSM’s Platform Theatre.
Béla Bartók’s only opera, Duke Bluebeard’s Castle, composed in 1911 and based upon a libretto by the Hungarian writer Béla Balázs, was not initially a success.
Káťa Kabanová is, they say, Janáček's first mature opera — it comes a mere 20 years after his masterpiece, Jenůfa.
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.