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.
The cast of supporting roles was especially strong in the company’s new production of Mozart’s matchless masterpiece
The company uncorks its 40th Anniversary season with a visually and musically satisfying production of Johann Strauss Jr.’s farcical operetta
Although performances of Richard Strauss’s last opera Capriccio have increased in recent time, Lyric Opera of Chicago has not experienced the “Konversationsstück für Musik” during the past twenty odd years.
The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission
Houston Grand Opera commissioned Cruzar la Cara de la Luna from composer José “Pepe” Martínez, music director of Mariachi Vargas de Tecalitlán, who wrote the text together with Broadway and opera director Leonard Foglia. The work had its world premier in 2010. Since then, it has traveled to several cities including Paris, Chicago, and San Diego.
“Why should I go to hear Plácido Domingo” someone said when Verdi’s I due Foscari was announced by the Royal Opera House. There are very good reasons for doing so.
Music Theatre Wales presented the world premiere of Philip Glass’s The Trial (Kafka) last night at the Linbury, Royal Opera House. Music Theatre Wales started doing Glass in 1989. Their production of Glass’s In the Penal Colony in 2010 was such a success that Glass conceived The Trial specially for the company.
To say that the English Concert’s performance of Handel’s Alcina at the Barbican on 10 October 2014 was hotly anticipated would be an understatement. Sold out for weeks, the performance capitalised on the draw of its two principals Joyce DiDonato and Alice Coote and generated the sort of buzz which the work did at its premiere.
Lyric Opera of Chicago opened its sixtieth anniversary season with a new production of Mozart’s Don Giovanni directed by Artistic Director of the Goodman Theater, Robert Falls.
It was a little over two years ago that I heard Sir Colin Davis conduct the Berlioz Requiem in St Paul’s Cathedral; it was the last time I heard — or indeed saw — him conduct his beloved and loving London Symphony Orchestra.
Part of their Liberty or Death season along with Rossini’s Mose in Egitto and Bizet’s Carmen, Welsh National Opera performed David Pountney’s new production of Rossini’s Guillaume Tell (seen 4 October 2014).
Welsh National Opera’s production of Rossini’s Mose in Egitto was the second of two Rossini operas (the other is Guillaume Tell) performed in tandem for their autumn tour.
In Monteverdi’s first Venetian opera, Il Ritorno d’Ulisse (1641), Penelope’s patient devotion as she waits for the return of her beloved Ulysses culminates in the triumph of love and faithfulness; in contrast, in L’incoronazione di Poppea it is the eponymous Queen’s lust, passion and ambition that prevail.
After the triumphs of love, the surprises: Les Paladins, under their director Jérôme Correas, and soprano Sandrine Piau are following their tour of material from their 2011 CD, ‘Le Triomphe de L’amour’, with a new amatory arrangement.
At the ENO, Puccini's La fanciulla del West becomes The Girl of the Golden West. Hearing this opera in English instead of Italian has its advantages, While we can still hear the exotic, Italianate Madama Butterfly fantasies in the orchestra, in English, we're closer to the original pot-boiler melodrama. Madama Biutterfly is premier cru: The Girl of the Golden West veers closer, at times, to hokum. The new ENO production gets round the implausibility of the plot by engaging with its natural innocence.
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.’
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.