09 Jun 2013
Les Contes d’Hoffmann in San Francisco
Just when you thought the protagonist was Hoffmann! Who, rather what stole the show?
Opera Philadelphia deserves congratulations on yet another coup. The company co-commissioned Cold Mountain, an opera by Jennifer Higdon based on Gene Scheer’s adaptation of Charles Frazier’s celebrated Civil War epic.
For their first of two recitals at the Wigmore Hall, Christian Gerhaher and Gerold Huber devised an interesting programme - popular Schubert mixed with songs by Wolfgang Rihm and by Huber himself.
There are not many opera productions that you would cross oceans to see. Graham Vick’s Götterdämmerung in Sicily however compelled such a voyage.
Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.
Robert Ashley’s opera-novel Quicksand makes for a novel experience
One of the leading Russian composers of his generation, Alexander Raskatov’s reputation in the UK and western Europe derives from several, recent large-scale compositions, such as his reconstruction of Alfred Schnittke’s Ninth Symphony from a barely legible manuscript (the work was first performed in 2007 in the Dresden Frauenkirche by the Dresden Philharmonic under Dennis Russell Davies), and his 2010 opera A Dog’s Heart, based on Mikhail Bulgakov’s satire (which was directed by Simon McBurney at English National Opera in 2010, following the opera’s premiere at Netherlands Opera earlier that year).
I’m not sure that St John’s Smith Square was the most appropriate venue for Opera Danube’s latest production: Jacques Offenbach’s satirical frolic, Orpheus in the Underworld.
This nasty little opera evening in Lyon lived up to the opera’s initial reputation as pure pornophony. This is the erotic Shostakovich of the D minor cello sonata, it is the sarcastic and complicated Shostakovich of The Nose . . .
During December 2015 and presently in January Lyric Opera of Chicago has featured the world premiere of the opera Bel Canto, with music by Jimmy López and libretto by Nilo Cruz, based on the novel by Ann Patchett.
Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.
The title role is a deciding factor in Madama Butterfly. Despite a last-minute conductor cancellation, last Saturday’s concert performance at the Concertgebouw was a resounding success, thanks to Lianna Haroutounian’s opulent, heart-stealing Cio-Cio-San.
With this performance of vocal and instrumental works composed by the 10-year-old Mozart and his contemporaries during 1766, Classical Opera entered the second year of their 27-year project, MOZART 250, which is designed to ‘contextualise the development and influences of [sic] the composer’s artistic personality’ and, more audaciously, to ‘follow the path that subsequently led to some of the greatest cornerstones of our civilisation’.
Luca Pisaroni and Wolfram Rieger were due to give the latest installment in the Wigmore Hall's complete Schubert songs series, but both had to cancel at short notice. Fortunately, the Wigmore Hall rises to such contingencies, and gave us Benjamin Appl and Jonathan Ware. Since there's a huge buzz about Appl, this was an opportunity to hear more of what he can do.
The phrase ‘Sunday afternoon concert’ may suggest light, post-prandial entertainment, but soprano Gemma Lois Summerfield and her accompanist, Simon Lepper, swept away any such conceptions in this demanding programme at St. John’s Smith Square.
When, o when, will someone put Peter Sellars and his compendium of clichés out of our misery?
Having recently followed some by-ways through the music of Purcell, Monteverdi and Cavalli, L’Arpeggiata turned the spotlight on traditional folk music in this characteristically vibrant and high-spirited performance at the Wigmore Hall.
Edward Gardner brought all his experience as a choral and opera conductor to bear in this stirring performance of Michael Tippett’s A Child of Our Time at the Barbican Hall, with a fine cast of soloists, the BBC Symphony Orchestra and BBC Symphony Chorus.
‘Apt for voices or viols’: eager to maximise sales among the domestic market in Elizabethan England, publishers emphasised that the music contained in collections such as Thomas Morley’s First Book of Madrigals to Four Voices of 1594 was suitable for performance by any combination of singers and players.
It was a single title but a double bill and there was far more happening than Gordon Getty and Claude Debussy. Starting with Edgar Allen Poe.
For its latest production of the current season Lyric Opera of Chicago is presenting Franz Lehár’s The Merry Widow (Die lustige Witwe) featuring Renée Fleming /Nicole Cabell as the widow Hanna Glawari and Thomas Hampson as Count Danilo Danilovich.
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.