Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

The Tempest Songbook, Gotham Chamber Opera

Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to explore the possibilities of unconventional spaces and unconventional programs that the company has made its hallmark. The results were musically and theatrically thought-provoking, and left me wanting more.

San Diego Opera presents Adams’ Riveting Nixon in China

Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.

Ars Minerva presents Castrovillari’s La Cleopatra in San Francisco

It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.

An Ideal Cast in Chicago’s Tannhäuser

Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.

Madame Butterfly, Royal Opera

Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.

Tosca in Marseille

Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.

Poetry beyond words — Nash Ensemble, Wigmore Hall

The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.

Arizona Opera Presents Magritte Style Magic Flute

On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.

Henry Purcell: A Retrospective

There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.

Die Meistersinger and The Indian Queen
at the ENO

It has been a cold and gray winter in the south of France (where I live) made splendid by some really good opera, followed just now by splendid sunshine at Trafalgar Square and two exquisite productions at English National Opera.

Rise and Fall of the City of Mahagonny, Royal Opera

At long last, Rise and Fall of the City of Mahagonny has come to the Royal Opera House. Kurt Weill’s teacher, Busoni, remains scandalously ignored, but a season which includes house firsts both of this opera and Szymanowsi’s King Roger, cannot be all bad.

Unsuk Chin: Alice in Wonderland, Barbican, London

Unsuk Chin’s Alice in Wonderland returned to the Barbican, London, shape-shifted like one of Alice’s adventures. The BBC Symphony Orchestra was assembled en masse, almost teetering off stage, creating a sense of tension. “Eat me, Drink me”. Was Lewis Carroll on hallucinogens or just good at channeling the crazy world of the subconscious?

Welsh National Opera: The Magic Flute and Hansel and Gretel

Dominic Cooke’s 2005 staging of The Magic Flute and Richard Jones’s 1998 production of Hansel and Gretel have been brought together for Welsh National Opera’s spring tour under the unifying moniker, Spellbound.

Double bill at Guildhall

Gaetano Donizetti and Malcolm Arnold might seem odd operatic bedfellows, but this double bill by the Guildhall School of Music and Drama offered a pair of works characterised by ‘madness, misunderstandings and mistaken identity’ which proved witty, sparkling and imaginatively realised.

LA Opera: Barber of Seville

Saturday, February 28, 2015, was the first night for Los Angeles Opera’s revival of its 2009 presentation of The Barber of Seville, a production by Emilio Sagi, which comes originally from Teatro Real in Madrid in cooperation with Lisbon’s Teatro San Carlos. Sagi and onsite director, Trevor Ross, made comedy the focus of their production and provided myriad sight gags which kept the audience laughing.

Marie-Nicole Lemieux, Wigmore Hall

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]’.

Eine florentinische Tragödie and I pagliacci in Monte-Carlo

An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.

Carmen, Pacific Symphony

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.

The Mastersingers of Nuremberg, ENO

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.

San Diego Opera presents an excellent Don Giovanni

On Friday February 20, 2015, San Diego Opera presented Mozart’s Don Giovanni in a production by Nicholas Muni originally seen at Cincinnati Opera.

OPERA TODAY ARCHIVES »

Performances

Michaela Schuster as Klytamnestra and Christine Goerke as Elektra [Photo © ROH / Clive Barda]
29 Sep 2013

Elektra, Royal Opera

Charles Edwards’s production of Elektra, first seen in 2003,

Elektra, Royal Opera

A review by Mark Berry

Above: Michaela Schuster as Klytamnestra and Christine Goerke as Elektra

Photos © ROH / Clive Barda

 

and revived in 2008 , now returns to Covent Garden under the baton of Andris Nelsons. There remains much to admire in the staging, though I found myself entertaining a little more in the way of doubt than I had on previous occasions. My impression was that it had become gorier, and it may well have done, though by the same token, it may have been that I was now more attentive to what it had in common with, rather than what distinguished it from, David McVicar’s Royal Opera Salome. (McVicar was present in the audience.) Violence had always been present, not least in the shocking torture of the Fifth Maid, her twitching and indeed at one point revivified corpse, long present on stage to remind us, lest we forget. Playing with time, the ‘present’ of Strauss and Hofmannsthal meshed with ancient Mycenae, or rather with an idea thereof, remains a strength. A sense of the archaeological is offered by Agamemnon’s bust, and the shadow it casts: at one point as towering as the motif associated with the murdered king. Perhaps that sense might have been stronger; there are moments when the relationship seems unclear and a stronger impression of recreating a past that never was might assist. But it is quite possible that that is the point; we are after all in the world of dreams, of psychoanalysis. A splendid touch in that respect is Elektra’s desk. One might read its role in various ways; I could not help but think of a more or less explicit consultation, not only when Klytämnestra comes to her in need of interpretation, but also in the scene with Ägisth. Piercing the darkness with the fierce ray of her desk lamp heightens that impression, Elektra’s lighting his way viewed from a new standpoint, both literally and more figuratively. A particularly troubling sense of familial sickness — I realise that in this opera, that is something of an understatement — is offered by the relationship of Elektra and Orest. It appears that there is something rather more than sibling affection between them, though that is not laboured. It certainly seems confused, as it would be: fleetingly maternal, fleetingly paternal, at one point apparently sexual. Or maybe it is that Edwards’s staging allows the audience the space to offer its own interpretation; whatever the ‘intention’, the result is provocative in the best sense. My present taste may lie more with relative abstraction; that, however, is no reason to dismiss other approaches.

130920_0450.gifAdrianne Pieczonka as Chrysothemis

‘Ob ich nicht höre? ob ich die Musik nicht höre?’ Elektra asks, commencing the last and most delirious of her monologues: ‘Do I not hear it? Do I not hear the music?’ She maintains that it comes from inside her, though we, in a sense, know that at best to be a partial truth; Strauss’s orchestra has shown itself true to Wagner’s Opera and Drama — for Strauss, the ‘book of all books’ on opera — conception of the orchestra as the modern Attic chorus. Far too often, however, we find ourselves lamenting the tone-deafness of stage directors, wishing to ask them, in the nicest possible way, or perhaps not, whether they do not hear it, do they not hear the music? Therein perhaps lies the greatest strength of Edwards’s staging, aided by Leah Hausman’s movement, in that it clearly hears Strauss’s music. It is not enslaved, but rather liberated by it. There are instances where movement is clearly tied to the score, others when it is more a case of heightening of tension on stage relating to the orchestra as much as to the libretto. Lighting — Edwards’s own — is as attentive and revealing as movement.

And what music, it is, of course, in what must surely be Strauss’s greatest opera. (It may not be our favourite, but that is a different matter.) Nelsons was often impressive, at his best offering an object lesson in transition: Wagner’s ‘most subtle art’, as it should be in Strauss too. The recognition scene was but one exemplary instance. Not only was dramatic process tightly and meaningfully controlled, with an aptly unsettling sense of release that was not at all release when Elektra’s slinky ‘Orest! Orest! Es rührt sich niemand’ stole upon us; Strauss’s phantasmagorical cauldron of orchestral colour here and in many other cases had been stirred so as to provide just the right sense of dream-world and nausea for us to receive what was unfolding. Indeed, there were numerous instances in which I heard the score sound closer to the Strauss of earlier tone poems than I can recall; it is doubtless no coincidence that Nelsons has been exploring that orchestral repertoire in some depth of late. Other transitions were handled with less security; the second scene, for instance, seemed to follow on abruptly from the first, indeed from a prolonged caesura rather than musico-dramatic inevitability. There may well, however, be good reason to believe that the flow will become still more impressive as the run of performances continues. Likewise, if Nelsons’s ear for colour seemed somewhat to desert him at the very close, that may well be rectified, and may have been more a matter of orchestral exhaustion than anything else. The orchestra itself was on good rather than great form, but it was only when one made comparisons, as inevitable as they are odious, with one’s aural memory — always a dangerous, deceptive game — thinking, for instance, of Karl Böhm’s magnificent Staatskapelle Dresden, or of Daniele Gatti’s astounding Salzburg Festival account , the Vienna Philharmonic at the very top of its form, that discrepancy became apparent.

Christine Goerke’s assumption of the title role may be accounted a resounding triumph. There was dramatic commitment, to be sure, but also vocal security and clarity that are far from a foregone conclusion in this treacherous role. If there were moments of strain, I either did not notice, or have forgotten them; this was very much a sung rather than screamed Elektra. Adrienne Pieczonka gave the finest performance I have heard from her as Chrysothemis, her voice more focused and with considerably greater bloom than I recall from, for instance, her Salzburg Marschallin. (Perhaps this role is a better fit vocally for her, or maybe her time has more fully come.) Michaela Schuster threw herself wholeheartedly into a splendidly malevolent portrayal of Klytämnestra, with John Daszak as her husband finely managing the tricky balancing act between portrayal of a weak, contemptible character and convincing assumption of the role. Iain Paterson offered a typically musicianly, quietly chilling Orest. Smaller parts were all well taken, the individual lines and timbres of the five maids impressively apparent.

At the end, then, I felt duly bludgeoned, as that least affirmative of C major chords dealt the final blow. There is no redemption: a concept that Strauss never understood, as witnessed by his bemusement over Mahler’s desire for that most Wagnerian of goals. Here, however, as is not always the case with the composer, thoroughgoing, post-Nietzschean materialism and dramatic truth go hand in hand. Adorno’s attack upon Strauss’s concluding music seemed to me more wrongheaded than ever: testament, surely, to a staging and performance worthy of Elektra.

Mark Berry


Cast and production information:

First Maid: Anna Burford; Second Maid: Catherine Carby; Third Maid: Elizabeth Sikora; Fourth Maid: Elizabeth Woollett; Fifth Maid: Jennifer Check; Overseer: Elaine McKrill; Elektra: Christine Goerke; Chrysothemis: Adrienne Pieczonka; Klytämnestra: Michaela Schuster; Confidante: Louise Armit; Trainbearer: Marianne Cotterill; Young Servant: Doug Jones; Old Servant: Jeremy White; Orest: Iain Paterson; Orest’s Companion: John Cunningham; Ägisth: John Daszak. Royal Opera Chorus (chorus master: Renato Balsadonna)/Orchestra of the Royal Opera House/Andris Nelsons. Royal Opera House, Covent Garden, London, Monday 23 September 2013

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):