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 Reviews

Guillaume Tell in Monaco

Peasants revolt in a sea of Maserati and Ferrari’s.

LA Opera Presents Figaro 90210

Figaro 90210 is Vid Guerrerio’s modern version of Wolfgang Amadeus Mozart and Lorenzo DaPonte’s 1786 opera, The Marriage of Figaro.

Tristan und Isolde at the Wiener Staatsoper

David McVicar’s production of Wagner’s seminal music drama runs aground on the Cornish coast.

Songs of Night and Travel, Wigmore Hall

The coming of ‘Night’ brings darkness, shadows and mystery; sleep, dreams and nightmares; fancies, fantasies and passions.

Andrea Chénier, Royal Opera

Umberto’s Giordano’s Andrea Chénier, now at the Royal Opera House, is no more about history than Jesus Christ Superstar is about theology.

Yevgeny Onegin in Warsaw

Mariusz Treliński’s staging of Tchaikovsky’s operatic masterpiece is visually fascinating but psychologically confusing

Orfeo at the Roundhouse, Royal Opera

The regal trumpets and sackbuts sound their bold herald and, followed by admiring eyes, the powers of state and church begin their dignified procession along a sloping walkway to assume their lofty positions upon the central dais.

Idomeneo in Montpellier

Vestiges of a momentous era . . .

L’elisir d’amore in Marseille

There were hints that L’elisir is one of the great bel canto masterpieces.

Das Liebesverbot opens the new season at Teatro Verdi in Trieste

Aron Stiehl’s production of this rare early Wagner opera cheerfully brings commedia dell’arte to La Cage aux Folles.

Amsterdam: Lohengrin Lite

Stage director Pierre Audi is not one to be strictly representational in his story telling.

Fidelio, Manitoba Opera

For the first time in its 42-year history, Manitoba Opera presented Beethoven’s mighty ode to freedom, Fidelio, with an extraordinary production that resonated as loudly as tolling bells of freedom.

The Hilliard Ensemble: Farewell Concert at Wigmore Hall

Forty-one years is a long time for any partnership to be sustained and to flourish — be it musical, commercial or marital! And, given The Hilliard Ensemble’s ongoing reputation as one of the world’s finest a cappella groups, noted for their performances of works dating from the 11 th century to the present day, it must have been a tough decision to call an end to more than four decades of superlative music-making.

Fidelio opens new season at La Scala

Daniel Barenboim makes a triumphant departure as direttore musicale del Teatro alla Scala with Beethoven’s operatic masterpiece.

Mahler Songs: Christian Gerhaher, Wigmore Hall

Star singer and star composer, a combination guaranteed to bring in the fans. Christian Gerhaher sang Mahler at the Wigmore Hall with Gerold Huber. Gerhaher shot to fame when he sang Wolfram at the Royal Opera House Tannhäuser in 2010.

Modernity vanquished? Verdi Un ballo in maschera, Royal Opera House, London

Verdi’s Un ballo in maschera at the Royal Opera House — a masked ball in every sense, where nothing is quite what it seems.

La Traviata in Ljubljana Slovenia

Small country, small opera house — big ensemble spirit. Internationally acclaimed soprano Natalia Ushakova steps in for indisposed local Violetta with mixed results.

Otello in Bucharest — Moor’s the pity

Bulgarian director Vera Nemirova’s production of Otello for the Romanian National Opera in Bucharest was certainly full of new ideas — unfortunately all bad.

Il trovatore at Lyric Opera of Chicago

For its current revival of the 2006-2007 production of Giuseppe Verdi’s Il trovatore by Sir David McVicar Lyric Opera has assembled a talented quintet of principal singers whose strengths match this conception of the opera.

Schubert’s Winterreise by Matthias Goerne

This Winterreise is the final instalment of Matthias Goerne’s series of Schubert lieder for Harmonia Mundi and it brings the Matthias Goerne Schubert Edition, begun in 2008, to a dark, harrowing close.

OPERA TODAY ARCHIVES »

Reviews

The Dutchman and Senta at San Francisco Opera [Photo by Cory Weaver]
24 Oct 2013

Der Fliegende Holländer in San Francisco

Train wrecks are fascinating events, huge forces collide, brutal destruction results. Investigators rush to the scene to explain how and why it happened.

Der Fliegende Holländer at San Francisco Opera

A review by Michael Milenski

Above:The Dutchman and Senta at San Francisco Opera

Photos © Cory Weaver courtesy of San Francisco Opera

 

That is more or less what happened last night at San Francisco Opera. Though the forces for Der Fliegende Holländer are relatively modest — three principal singers live the drama, three more offer background story; orchestrally there are but double winds, (except triple trombones and five horns). San Francisco Opera beefed up its chorus to a grandiose seventy-eight, after all it is a Wagner anniversary, and there were a few extra strings as well.

But Der Fliegende Holländer is the inauguration of Wagner’s uniquely fertile exploration of redemption through love, and it is emblematic of the tragic idealism that exponentially enriches nineteenth century art. It is conceptually and philosophically big art.

San Francisco Opera partnered with the Opéra Royal de Wallonie (a province of Belgium), that has a sizable presence in French provincial opera for this new production of Dutchman conceived by French/Romanian director Petrika Ionesco. Mr. Ionesco is known to San Francisco audiences for the Théâtre du Châtelet (Paris) staging of Cyrano de Bergerac seen two years ago at the War Memorial — a swashbuckling, cinematic conception that made the most of a slight opera for a broad audience. Mr. Ionesco has staged both Aida and Nabucco at the 80,000 seat Stadt de France and Continents on Parade at EuroDisney.

For those of us who did not see the Vaisseau Fantôme in Liège accounts say it began with Senta alone on stage in a cemetery (Senta does not appear in the libretto until the second act) and ended with Senta freezing to death among the same tombstones — the opera became Senta’s dream (Senta works in a factory that makes clothing and sails for sailors thus in her dream piles of cloth had become tombstones by means of tricky lighting).

In Liège the Dutchman flew onto Daland’s ship attached to a huge anchor to seek protection from the opening storm. Then there was some sort of science fiction action that accompanied the Dutchman to a fantasy place of skeletons and cloaks where he tells his tale of woe. The production was said to have been tuned to appeal to a broad public, maybe becoming a bit like a Stephen King novel.

Dutchman2_SFOT.pngGreer Grimsley as the Dutchman

Strange to say it was not until the production was actually onstage at War Memorial that the current artistic politic of San Francisco’s opera house determined that the production did not conform. Mr. Ionesco and his ideas were dismissed. A fast attempt was made to re-stage the opera by summarizing the action. Senta still began the opera alone on stage but there were no tombstones, and finally she leapt to her death from the remnant of a raised hatch from the Act I ship (though there was no idea where she landed as by that point we had no idea where we were). But it did not seem to be freezing and there was not a tombstone in sight. All this was hardly Ionesco’s adolescent dream, in fact it was simply a walk through of the libretto.

The Dutchman walked on and off the stage from downstage right or left with absolutely no visual magic or fanfare even though he is a phantom hero. He stood totally alone in front of the red lighted fantasy space to deliver his extended monologue as best he could. The considerable snowfall in Act I and the clumsy every-once-in-a-while projections of icebergs that could have dramaturgically motivated a death by freezing remained unexplained, arbitrary atmospheres.

It would have been heroic salvation had conductor Patrick Summers been able to redeem this fiasco through enthralling music. This was not the case, the maestro sought always a richness of orchestral description and color rather than a realization of music drama. Tempos were generally relaxed rather than charged with meaning, apparent first in the leaden overture, and burdensome particularly in the Dutchman monologue and the big Senta ballad. The maestro’s tempos never discovered the joys of a good wind nor found the terrors of a great storm, both stupendous expressive moments in Wagner’s first masterwork.

Mo. Summers is however particularly attuned to his singers, and some very fine, if meaningless performances resulted, most notably the Dutchman himself, enacted by American bass baritone Greer Grimsley. We can assume that the character Mr. Grimsley portrayed on the stage was created for the Ionesco production. The Dutchman was a suffering, vulnerable human man that Grimsley brilliantly portrayed both physically and vocally. He possesses a quite beautiful voice that he colored in many tonalities to fill his monologues with precise and genuine information and feeling.

Summers offered the same support to the Steersman, beautifully sung, and made real by Adler Fellow, tenor A.J. Glueckert. Welsh tenor Ian Storey created an Eric, Senta’s intended, who came across as more threatening than hurt. With a presence more Tristan than as a Hanseatic lad he sang Wagner’s quite felt music beautifully, perhaps too much so for the Ionesco character. His too frequent use of sotto voce was bothersome. Conductor Summers gave Senta’s father Daland the gruffness inherent to Icelandic bass Kristinn Sigmundsson’s persona and voice, a gruffness that resonated as well in the truly plodding tempos the maestro imposed on the dances that begin the third act.

Dutchman3_SFOT.pngIan Storey as Eric, Lise Lindstrom as Senta

Originally German soprano Petra Maria Schnitzer was cast as Senta. She was replaced by American (San Francisco) soprano Lise Lindstrom who is a fine singer well suited to the Turandot role she frequently sings on the major stages. Hers is not a voice of youthful sweetness or lyricism that might make Senta a mythical nineteenth century angel of death, but it did serve to portray Ionesco’s neurotically obsessed young woman. Intelligence gathered while the elevator descended to subterranean parking levels reveals that some of us thought she stole the show.

Hopefully such events as this Dutchman are once in a century.

Michael Milenski


Casts and production information:

Dutchman: Greer Grimsley; Senta: Lise Lindstrom; Erik: Ian Storey; Daland: Kristinn Sigmundsson; Steersman: A.J. Glueckert; Mary: Erin Johnson. Chorus and Orchestra of the San Francisco Opera. Conductor: Patrick Summers; Director/Set Designer: Petrika Ionesco; Costume Designer: Lili Kendaka; Lighting Designer: Gary Marder; Projection Designer: S. Katy Tucker. War Memorial Opera House, October 22, 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):