Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Bartoli a dream Cenerentola in Amsterdam

With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.

Winterreise : a parallel journey

Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.

Anna Bolena in Lisbon

Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.

Oh, What a Night in San Jose

It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.

Billy Budd in Madrid

Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.

A riveting Nixon in China at the Concertgebouw

American composer John Adams turns 70 this year. By way of celebration no less than seven concerts in this season’s NTR ZaterdagMatinee series feature works by Adams, including this concert version of his first opera, Nixon in China.

English song: shadows and reflections

Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.

A charming Pirates of Penzance revival at ENO

'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.

A Relevant Madama Butterfly

On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.

Johan Reuter sings Brahms with Wiener Philharmoniker

In the last of my three day adventure, I headed to Vienna for the Wiener Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.

Gatti and the Royal Concertgebouw Orchestra Head to Asia

In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the Royal Concertgebouw, Daniele Gatti, came together for their first engagement in a ravishing performance of Berg’s Violin Concerto.

Verdi’s Requiem with the Berliner Philharmoniker

I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and Wiener Philharmoniker, to hear these three top orchestra perform their series programmes opening the New Year.

Jeanne d'Arc au bûcher in Lyon

There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.

A New Look at Mozart’s Abduction from the Seraglio

On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.

Giasone in Geneva

Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.

Falstaff in Genoa

A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.

Traviata in Seattle

One of Aidan Lang’s first initiatives as artistic director of Seattle Opera was to encourage his board to formulate a “mission statement” for the fifty-year old company. The document produced was clear, simple, and anodyne. Seattle Opera would aim above all to create work appealing both to the emotions and reason of the audience.

Wagner at the Deutsche Oper Berlin Part II: Kasper Holten’s angelic Lohengrin

Contrary to Stolzi’s multidimensional Parsifal, Holten’s simple setting of Lohengrin felt timeless with its focus on the drama between characters. Premiering in 2012, nothing too flashy and with a clever twist,

Wagner at the Deutsche Oper Berlin Part I: Stölzl’s Psychedelic Parsifal

Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner productions. This Fall, its productions of Philipp Stölzl's Parsifal and Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it comes down to last minute replacements, the casting is topnotch.

Donna abbandonata: Temple Song Series

Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.

OPERA TODAY ARCHIVES »

Performances

30 Sep 2013

La Traviata, Hamburg

Johannes Erath's production of Verdi's La Traviata opened at the Staatsoper Hamburg in February this year, with Ailyn Perez in the title role. Perez returned with Stephen Costello as Alfredo for three performances in September 2013

Giuseppe Verdi: La Traviata, Hamburg State Opera

A review by Robert Hugill

 

I caught the third on 27 September 2013, with Alexandru Agache as Giorgio Germont and Rebecca Jo Loeb as Flora. The production was designed by Annette Kurz with costumes by Herbert Murauer. The conductor was Alexander Joel.

As we entered the auditorium the curtain was up and we saw a lone figure sitting on a huge bare stage, black walls, lighting rig visible. The figure started playing the accordion, two figures came on stage, Alfredo (Costello) and Annina (Ida Aldrian), she gave money to the accordionist (Jakob Neubauer) whilst Costello pulled the body of Violetta out of the ground and cradled it. At the conclusion of the prelude, the rear wall opened and the party guests were revealed, coming forward on a platform whilst Costello was still on stage. This was clearly a production which was understood to be happening in flashback.

There were a number of key elements which helped define Erath's dramaturgy. The first was the use of dodgems, these were lowered from the flies for the party scene in act one and the party took place in and around them. Dodgems were the only set, two remained on stage during the opening of act two, and the whole set of them returned for the party at Flora's. The other major element was a set of circus performers, all played by older actors, all in white whom only Violetta could see and whom we had to take as ghosts from her past. They reoccurred at key moments of the drama. Apart from the circus performers, all the cast were in modern dress.

The platform that I referred to earlier contained a revolve and Erath made a too frequent cliched use of it with much walking on the spot. But generally the visual style was very considered with movements and gestures being mirrored in the two party scenes; for example Costello laid Perez in one of the dodgems, in act one prior to an erotic encounter, in act three as she lay dying.

The problem was that Erath used these elements in rather too obvious a way. He clearly took a very particular view of the dramaturgy of the opera and wanted to ensure that we knew what to think. There was something heavy handed about the rather obvious way he martialled his forces to reinforce his ideas, such as bringing on the circus performers with monotonous regularity. For me, though, the main problem was the way that he tried to re-write the ending of the opera. During Addio del passato there was steady, slow progression of the circus performers with a second Violetta at the end. Perez greeted her doppelganger and whilst the second Violetta climbed into her grave, Perez removed her dress to reveal her white shift. She too had become a ghost and we were to understand that for much, but not all of the remainder of the act neither Alfredo nor his father could see her or interact with her. But not quite, as parts of Verdi's score almost forced them to interact. It was very much a cast of forcing the opera to fit a konzept and I could not help wishing that Erath had emulated a director like Peter Konwitschny who has no qualms at separating words and music.

LA TRAVIATA - Staatsoper Hamburg from Theater-TV on Vimeo.

There were odd details too. During act two scene one we saw Annina selling to Flora the dress that Violetta work in act one, and Flora wore it at her party. The entertainment at Flora's party was not Spanish, but a re-enactment of the story of Violetta, Alfredo and Giorgio Germont. At the end of the previous scene, Agache had given his overcoat and hat to Perez, who appeared at Flora's party still wearing them.

The production worked because Perez gave a performance of such brilliance and intensity, clearly identifying with Erath's concept of Violetta. Perez is a lyric soprano and there were moments in act two scene two and in act three when having a more spinto voice would have been ideal, but this didn't matter because Perez used her resources superbly. Technically the end of act one was well done, but it never felt like a coloratura showpiece, Perez simply used the music to further the drama. Common to all her performance was a superb feeling for the line of Verdi's music, with Perez spinning out long phrases in a profoundly moving and expressive manner. She was able to thin her voice to the merest thread, but also revealed a surprisingly rich and warm depth to her voice at key moments. Unlike other lyric colorratura sopranos in the role, I was never aware of Perez managing her voice. Her identification was total and her performance simply mesmerising.

Stephen Costello was new to the production, but is Perez's husband in real life, and the two generated quite a remarkable buzz. Costello's voice is the sort of lyric tenor that might be termed useful. It lacks an Italianate ping but is evenly produced throughout the range and he sang intelligently and never grandstanded, If these virtues seem a little negative, it did mean that we appreciated his Alfredo rather than simply watching Stephen Costello. From the first moment his Alfredo was quite poised, having sex with one of Violetta's party guests and clearly a bit of a shit. This was no eager puppy and the relationship with Violetta, so serious in its intensity was clearly a surprise to both of them. He coped well with the extra drama required of him, the framing device so that we saw things in flash-back, and he cr dled the dummy body manfully during sections of the close opf act three. It says much of Costello and Perez's relationship that they could generate so much electricity during the Parigi o cara duet with him cradling a dummy and her sitting alone on a dodgem.

During Flora's party, Alfredo's treatment of Violetta was profoundly disturbing; Costello did not just throw money at Perex but launched himself at her and in a highly disturbing and rather extended scene, seemed to virtually kill her with Perez only reviving in time to join in the ensemble. For the remainder of the scene Perez was shunned by the party goers. The scene moved into act three without a break (the intermission was in the middle of act two), and the opening of act three seemed to explore Violetta's alienation rather than her illness. It seemed as if, in some way, Violetta died by Alfredo's hand during Flora's party.

Agache made a notable Giorgio Germont. His voice lacks something of the flexibility at the top of his range, and he was clearly making an effort not to simply bark the upper passages. But his stiff-backed, rigid Germont was a notable participant in the drama, unbending enough at the end of act two scene one to give Perez his coat for protection. His duet with Perez was another musico-dramatic highpoint of the evening.

The lack of a set seems to have caused acoustical problems, at least that is what I presume because all the principals had moments of tuning problems in some of Verdi's extended cantilena, because they could not hear the orchestra sufficiently.

Rebecca Jo Loeb was a fine Flora, gamely stripping down to her underwear during her party, and acting as the main focus of the drama during the dance sequence there. Ida Aldrian, a member of the Opera Studio, made a notable Annina, in this version participating far more in the drama than is usual.

Over the conducting of Alexander Joel I could wish I could draw a veil. His speeds were lively and his feelings for Verdi's music was clearly strong, but he seemed entirely unable to keep the stage in time with the pit in the bigger ensembles, something that happened not just once but repeatedly.

This was however, Perez and Costello's evening and whatever the drawbacks of the production I took away the amazing electricity and musicality of the performance

Robert Hugill


Cast and production information:

Ailyn Perez: Violetta, Stephen Costello: Alfredo, Alexandru Agache: Giorgio Germont, Rebecca Jo Loeb: Flora, Ida Aldrian: Annina, Sergiu Saplacan: Gastone, Jan Buchwald: Douphol, Florian Spiess: D'Obigny, Levente Pall: Grenvil, Manuel Gunther: Giuseppe, Gheorghiu Vlad: Un domestico di Flora, Jakob Neubauer: Accordionist Johannes Erath: Director, Annette Kurz: Set Design, Herbert Murauer: Costume, Alexander Joel: Conductor. Staatsoper Hamburg, 27 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):