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.
Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.
Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.
On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman theatre of Aspendos near Antalya in southern Turkey is not an arena or amphitheatre at all, so there are not nearly as many ghosts of gored gladiators or dismembered Christians to disturb the contemporary feng shui as in other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014 by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
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.