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 Reviews

Santa Fe: Secondary Mozart in First Rate Staging

Impresario Boris Goldovsky famously referred to La finta giardiniera as The Phony Farmerette.

Regimented Daughter in Santa Fe

At Santa Fe Opera, Donizetti’s effervescent The Daughter of the Regiment can’t quite decide what it wants to be when it grows up.

Santa Fe’s Celebratory Jester

Santa Fe Opera noted a landmark two-thousandth performance in their distinguished history with a stylish new production of Rigoletto.

Sibelius Kullervo, BBC Proms, London

Why did Jean Sibelius suppress Kullervo (Op7, 1892)? There are many theories why he didn't allow it to be heard after its initial performance, though he referred to it fondly in private.

Aïda at Aspen

Most opera professionals, including the individuals who do the casting for major houses, despair of finding performers who can match historical standards of singing in operas such as Aïda. Yet a concert performance in Aspen gives a glimmer of hope. It was led by four younger singers who may be part of the future of Verdi singing in America and the world.

Prom 53: Shostakovich — Orango

One might have been forgiven for thinking that both biology and chronology had gone askew at the Royal Albert Hall yesterday evening.

Written on Skin at Lincoln Center

Three years ago I made what may have been my single worst decision in a half century of attending opera. I wasn’t paying close attention when some conference organizers in Aix-en-Provence offered me two tickets to the premiere of a new opera. I opted instead for what seemed like a sure thing: William Christie conducting some Charpentier.

Pesaro’s Rossini Festival 2015

The 36th Rossini Opera Festival in Rossini’s Pesaro! La gazza ladra (1817), La gazzetta (1816) and L'inganno felice (1812) — the little opera that made Rossini famous.

Santa Fe: Placid Princess of Judea

Unlike the brush fire in a distant neighborhood of the John Crosby Theatre, Santa Fe Opera’s Salome stubbornly failed to ignite.

Airy and Bucolic Glimmerglass Flute

As part of a concerted effort to incorporate local color and resonance into its annual festival, Glimmerglass has re-imagined The Magic Flute in a transformative woodland setting.

Glimmerglass Conquers Cato

Bravura singing and vibrant instrumental playing were on ample display in Glimmerglass Festival’s riveting Cato in Utica.

Energetic Glimmerglass Candide

Bernstein’s Candide seems to have more performance versions than Tales of Hoffmann.

Die Eroberung von Mexico in Salzburg

That’s The Conquest of Mexico, an historical music drama composed in 1991 by German composer Wolfgang Rihm (b. 1952). But wait. Wolfgang Rihm construed a few sentences of Artaud’s La Conquête du Mexique (1932) mixed up with bits of Aztec chant and bits of poem(s) by Mexico’s Octavio Paz (d. 1998) to make a libretto.

Scottish Sensation at Glimmerglass

Glimmerglass is celebrating its 40th Festival season with a stylish new production of Verdi’s Macbeth.

Norma in Salzburg

This Salzburg Norma is not new news. This superb production was first seen at the Salzburg Festival’s springtime Whitsun Festival in 2013 with this same cast. It will now travel to a few major European cities.

The power of music: a young cast in a semi-stage account of Monteverdi’s first opera

John Eliot Gardiner conducted a much anticipated performance of Monteverdi’s first opera L’Orfeo at the BBC Proms on 4 August 2015, with his own Monteverdi Choir and English Baroque Soloists.

Cold Mountain Wows Audience at Santa Fe World Premiere

On August 1, 2015, Santa Fe Opera presented the world premiere of Cold Mountain, a brand new opera composed by Pulizer Prize and Grammy winner Jennifer Higdon.

Review: You Promised Me Everything

Richard Taruskin entitled his 1988 polemical critique of the notion of ‘authenticity’ in the context of historically informed performance, ‘The Pastness of the Present and the Presence of the Past’.

Manon Lescaut, Munich

Puccini’s Manon Lescaut at the Bayerische Staatsoper, Munich. Some will scream in rage but in its austerity it reaches to the heart of the opera.

Proms Saturday Matinée 1

It might seem churlish to complain about the BBC Proms coverage of Pierre Boulez’s 90th anniversary. After all, there are a few performances dotted around — although some seem rather oddly programmed, as if embarrassed at the presence of new or newish music. (That could certainly not be claimed in the present case.)

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):