13 Aug 2013
Un ballo in maschera at Orange
A massive antique Roman theater where stadium opera is always grand opera and often good opera as well.
Director Annabel Arden believes that Rossini’s Il barbiere di Siviglia is ‘all about playfulness, theatricality, light and movement’. It’s certainly ‘about’ those things and they are, as Arden suggests, ‘based in the music’.
George Enescu’s Oedipe was premiered in Paris 1936 but it has taken 80 years for the opera to reach the stage of Covent Garden. This production by Àlex Ollé (a member of the Catalan theatrical group, La Fura Dels Baus) and Valentina Carrasco, which arrives in London via La Monnaie where it was presented in 2011, was eagerly awaited and did not disappoint.
Lyric Opera of Chicago staged Charles Gounod’s Roméo et Juliette as the last opera in its current subscription season.
‘The plot is perhaps the least moral in all opera; wrong triumphs in the name of love and we are not expected to mind.’
Anthony Minghella’s production of Madame Butterfly for ENO is wearing well. First seen in 2005, it is now being aired for the sixth time and is still, as I observed in 2013, ‘a breath-taking visual banquet’.
This concert version of La straniera felt like a compulsory musicology field trip, but it had enough vocal flashes to lobby for more frequent performances of this midway Bellini.
As poetry is the harmony of words, so music is that of notes; and as poetry is a rise above prose and oratory, so is music the exaltation of poetry.
From experiments with musique concrète in the 1940s, to the Minimalists’ explorations into tape-loop effects in the 1960s, via the appearance of hip-hop in the 1970s and its subsequent influence on electronic dance music in the 1980s, to digital production methods today, ‘sampling’ techniques have been employed by musicians working in genres as diverse as jazz fusion, psychedelic rock and classical music.
On May 7, 2016, San Diego Opera presented the West Coast premiere of Great Scott, an opera by Terrence McNally and Jake Heggie. McNally’s original libretto pokes fun at everything from football to bel canto period opera. It includes snippets of nineteenth century tunes as well as Heggie's own bel canto writing.
A foiled abduction, a castle-threatening inferno, romantic infatuation, guilt-laden near-suicide, gun-shots and knife-blows: Andrea Leone Tottola’s libretto for Vincenzo Bellini’s first opera, Adelson e Salvini, certainly does not lack dramatic incident.
Opera as an art form has never shied away from the grittier shadows of life. Nor has Manitoba Opera, with its recent past productions dealing with torture, incest, murder and desperate political prisoners still so tragically relevant today.
Published in 1855 as an entertainment for his two daughters, William Makepeace Thackeray’s The Rose and the Ring is a burlesque fairy-tale whose plot — to the author’s wilful delight, perhaps — defies summation and elucidation.
What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.
I suspect that many of those at the Wigmore Hall for The King’s Consort’s performance of the La Senna festeggiante (The Rejoicing Seine) were lured by the cachet of ‘Antonio Vivaldi’ and further enticed by the notion of a lover’s serenade at which the generic term ‘serenata’ seems to hint.
Having enjoyed superb singing by a young cast of soloists in Classical Opera’s UK premiere of Jommelli’s Il Vogoleso the previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final at the Wigmore Hall confirmed the strength and depth of talent possessed by the young singers studying in and emerging from our academies and conservatoires.
On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.
Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.
London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.
Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.
On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.
A massive antique Roman theater where stadium opera is always grand opera and often good opera as well.
Un ballo in maschera was maybe the first opera to be strikingly if arbitrarily translocated in place and time — Verdi first moved his story and characters from Stockholm to Pomerania, then from there to New England, all this for political rather than dramaturgical reasons! The raisons d’état for such moves and their ramifications are in fact quite theatrical (censors and lawsuits), in fact far more so than what small theatricality can be eked from the opera.
There is however a lot of singing that results from a reworking of an old libretto by Eugène Scribe about the assassination of Gustavo III of Sweden. Scribe is the famed creator of the “well-made play” which meant back in the early 19th century construing a series of emotional moments into a reasonable flow of happenings. But such reasonable intention can become an end in itself, and Verdi’s ballo seems such an exercise.
Such lack of dramatic sincerity was evident in Claude Auvray’s production for the Chorégies d’Orange. There was no telling where or when the action takes place, maybe back in Stockholm though the characters use their Italian names from the Pomeranian version. The king and his courtiers were in modern business suits, cell phones at their ears, the decor was a sort of 19th century theatrical drape painted on the stage floor, the masked ball was 18th century powdered wigs. Riccardo (identified as Gustavo on political posters) was enveloped in a massive nordic looking mantle from time to time, Ulrica and her acolytes were in big black gowns with weird gray fright wigs.
It is big at Orange, the stage a few hundred feet wide, its pit (orchestra in Latin) is correspondingly huge and for this ballo housed the accomplished Orchestra National Bordeaux-Aquitaine with a fully symphonic contingent of strings. French conductor Alain Altinoglu, well known to international opera audiences through Live in HD from the Met, responded with ample tempos that stressed size rather than intensity.
Voices were of smaller scale, Riccardo, that is Gustavo, was Mexican tenor Ramón Vargas, one of the more musically accomplished tenors who frequent international stages. He was in fine voice and delivered a well executed performance. His voice remains sweet and supple without the force of production one might expect from the King of Sweden, particularly on a Roman proscenium.
Amelia was young American soprano Kristen Lewis (born in Arkansas) who went directly from the University of Tennessee to Vienna where she has blossomed into a proto-Verdi soprano who also sings Mimi. She possesses a voice of pure, sweet sound, of ample force that she uses in high Italianate style. Plus she has mastered natural looking acting gestures appropriate to big singing. It all seemed the Cinderella moment of an important career until she disappeared at the end into her huge white ball gown and remained a mere Mimi.
Renato was bespectacled Italian baritone Lucio Gallo notable as the first Italian singer to be invited to the Bayreuth Festival (as Lohengrin’s Telramund in 2010). In Orange just now he apparently was seduced by the grandness of antiquity as he attempted volumes beyond his capacity and lost all possibility of actually forming words. He accepted his hueés (boos) with dignity.
Oscar, French soubrette Anne Catherine-Gillet took the stage from the start and made Verdi’s opera about the page (it was she who supported Gustavo during his dying moments, Amelia showed no reaction at all discreetly distanced on the arm of her husband, the murderer). French mezzo soprano Sylvie Brunet-Grupposo created an Ulrica of little distinction (by the way it was in 2005 that she added the Sicilian surname to her French one when she discovered the identify of her father).
Singing and mise en scéne at Orange is about size, not about detail. Over the years the various musical and staging techniques have become apparent, though the secret of the impeccable ensemble of chorus with the pit remains a mystery (the combined choruses of the operas of Nice, Nantes-Angers and Avignon number well more than a hundred). Staging however is done to recognized formulae that have proven effective over the decades, notably choristers pour onto the stage from both sides in colorful costumes to make scenic effect given that any real scenery would compete with the magnificent Roman stage wall and no one would want that. Principals remain down stage center and sing.
There is always a coup de théâtre event at the finale, here projections brilliantly lighted the huge Roman stage wall with its original sculptural detail. But the wall slowly darkened from the top down during the several minutes it took Riccardo aka Gustavo to expire. Magnificent is the word. The scenography was by Rudy Sabounghi and the exceptionally moody lighting by Laurent Castaingt, artists primarily active in the south of France and Monaco).
Light sprinkles of rain stopped the show from time to time but did not dampen the enthusiasm of the 8000 or so spectators. The stage crew, apparently unprepared for even the slightest precipitation, resorted to using toilet paper, a Calixto Bieito touch, to wipe the stage floor.
Cast and production information:
Amelia: Kristin Lewis; Ulrica: Sylvie Brunet-Grupposo; Oscar: Anne-Catherine Gillet; Riccardo: Ramón Vargas; Renato: Lucio Gallo; Samuel: Nicolas Courjal; Tom: Jean Teitgen; Silvano: Paul Kong; A judge: Xavier Seince; A servant: Bo Sung Kim. Orchestre National Bordeaux-Aquitaine and the choruses of the operas of Nice, Avignon and Angers-Nantes, plus the Compagnie Fêtes Galantes conducted by Alain Altinoglu. Mise en scène: Jean-Claude Auvray; Scénographie: Rudy Sabounghi; Costumes: Katia Duflot; Lighting: Laurent Castaingt; Chorégraphie: Béatrice Massin. Le Théâtre antique d'Orange, August 6, 2013.