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

Prom 54 - Mozart's Last Year with the Budapest Festival Orchestra

The mysteries and myths surrounding Mozart’s Requiem Mass - left unfinished at his death and completed by his pupil, Franz Xaver Süssmayr - abide, reinvigorated and prolonged by Peter Shaffer’s play Amadeus as directed on film by Miloš Forman. The origins of the work’s commission and composition remain unknown but in our collective cultural and musical consciousness the Requiem has come to assume an autobiographical role: as if Mozart was composing a mass for his own presaged death.

High Voltage Tosca in Cologne

I saw two operas consecutively at Oper Koln. First, the utterly bewildering Lucia di Lammermoor; then Thilo Reinhardt’s thrilling Tosca. His staging was pure operatic joy with some Hitchcockian provocations.

Haitink at the Lucerne Festival

Bernard Haitink’s monumental Bruckner and Mahler performances with the Royal Concertgebouw Orchestra (RCO) got me hooked on classical music. His legendary performance of Bruckner’s Symphony No. 8 in C-minor, where in the Finale loosened plaster fell from the Concertgebouw ceiling, is still recounted in Amsterdam.

BBC Prom 45 - Janáček: The Makropulos Affair

Karita Mattila was born to sing Emilia Marty, the diva around whom revolves Leoš Janáček's The Makropulos Affair (Věc Makropulos). At Prom 45, she shone all the more because she was conducted by Jirí Belohlávek and performed alongside a superb cast from the National Theatre, Prague, probably the finest and most idiomatic exponents of this repertoire.

Two Tales of Offenbach: Opera della Luna at Wilton's Music Hall

‘Two outrageous operas in one crazy evening,’ reads the bill. Hyperbole? Certainly not when the operas are two of Jacques Offenbach’s more off-the-wall bouffoneries and when the company is Opera della Luna whose artistic director, Jeff Clarke, is blessed with the comic imagination and theatrical nous to turn even the most vacuous trivia into a sharp and sassy riotous romp.

Britten Untamed! Glyndebourne: A Midsummer Night's Dream

This performance of Britten's A Midsummer Night's Dream at Glyndebourne was so good that it was the highlight of the whole season, making the term ‘revival’ utterly irrelevant. Jakub Hrůša is always stimulating, but on this occasion, his conducting was so inspired that I found myself closing my eyes in order to concentrate on what he revealed in Britten's quirky but brilliant score. Eyes closed in this famous production by Peter Hall, first seen in 1981?

Salzburg encores

A staged piano recital and an opera as a concert.  Pianist András Schiff accompanied the Salzburg Marionette Theater at the Mozarteum Grosser Saal and Anna Netrebko sang Manon Lescaut at the Grosses Festspielhaus.

Leah Crocetto at Santa Fe

On August 4, 2016, soprano Leah Crocetto and accompanist Tamara Sanikidze gave a recital at the Scottish Rite Center in Santa Fe New Mexico. A winner of the Metropolitan Opera Auditions and the BBC Cardiff Singer of the World Contest, this year Crocetto was singing Donna Anna in Santa Fe Opera’s excellent Don Giovanni.

Angela Meade at Sante Fe

On July 31, 2016, against the ethereal beauty of the main hall in the Scottish Rite Center, soprano Angela Meade and pianist Joe Illick gave a recital offering both opera and art songs ranging in origin from early nineteenth century Europe to mid twentieth century America. Many in the audience probably remembered Meade’s recent excellent portrayal of Norma at Los Angeles Opera.

Turco in Italia in Pesaro

When more is definitely more, and less would indeed be less. Two of the biggest names in Italian theater art collide in an eponymous theater.

Proms Chamber Music 5: Shakespeare at 400

It was the fifth Proms Chamber Music concert at Cadogan Hall this season, and we were celebrating Shakespeare’s 400th. And, given the extent and range of the composers and artists, and the diversity and profundity of the musical achievement inspired by the Bard, we could probably keep celebrating in this fashion ad infinitum.

La donna del lago in Pesaro

Each August the bleak and leaky, 12,000 seat Arena Adriatica (home of the famed Pesaro basketball team) magically transforms itself into an improvised opera house that boasts the ultimate in opera chic — exemplary Rossini production standards for its now twelve hundred seats.

Proms at … Sam Wanamaker Playhouse

This highly enjoyable Prom, part of 2016’s ‘Proms at …’ mini-series, took as its guiding concept the reopening of London’s theatres following the Restoration, focusing in particular upon musical and dramatic responses to Shakespeare. Purcell, rightly, loomed large, with John Blow and Matthew Locke joining him. Receiving their Proms premieres were the excerpts from Timon of Athens and those from Locke’s The Tempest.

Santa Fe: Straussian Sweet Nothings

With all the bombast of the presidential campaigns rattling in our heads, with invectives being exchanged and measured discussion all but absent, how utterly lovely to retreat and relax into the harmonious soundscape and well-reasoned debate posed in Strauss’ Capriccio, on magnificent display at Santa Fe Opera.

Santa Fe’s Civil War Gounod

When we entered the Crosby Theatre for Gounod’s Roméo et Juliette the stage was surprisingly dominated by a somber, semi-circular black mausoleum, many chambers inscribed with scrambled names of US Civil War era dead.

Coolly Elegant Vanessa in the Desert

Molten passions were seething just below the icy Nordic exterior of Santa Fe Opera’s wholly masterful production of Barber’s Vanessa.

Le Comte Ory, Seattle

Farce is probably the most difficult of dramatic comedy sub-genres to put across. A farce got up in the stately robes of opera sets its presenters an even higher bar. Presenting an operatic farce on a notoriously chilly and cavernous auditorium is to risk catastrophe.

Racette’s Golden Girl in New Mexico

Fan interest began raging when Santa Fe Opera engaged venerable artist Patricia Racette to make her role debut as Minnie in Puccini’s La Fanciulla del West.

Santa Fe’s Mozart Cast Sweeps All Before It

A funny thing happened on the way to Andalusia.

Die Liebe der Danae in Salzburg

The tale of a Syrian donkey driver. And, yes, the donkey stole the show! The competition was intense — the Vienna Philharmonic and the Grosses Festspielhaus in full production regalia for starters.

OPERA TODAY ARCHIVES »

Performances

Jennifer Holloway and Andrew Shore [Photo by Robert Workman]
07 Oct 2013

Die Fledermaus, ENO

‘Chacun à son goût!’ cries the inebriated Prince Orlovsky, invigorated by champagne and high-living. An indifferent ‘each to his own’?

Die Fledermaus, ENO

A review by Claire Seymour

Above: Jennifer Holloway and Andrew Shore

Photos by Robert Workman

 

Or, a more sceptical ‘there’s no accounting for taste’? — for Christopher Alden’s production of Strauss’s Die Fledermaus at ENO certainly suggests that he has an idiosyncratic preference for a distinctly dark and bitter vintage.

The curtain rises on Allen Moyer’s economical, sombre-hued set; flock wallpaper and silken bed drapes in various ‘shades of grey’ suggest, ironically, a dampening of the passions in the Eisensteins’ Victorian bedroom. As the polkas and waltzes of Strauss’s overture flutter from the pit, between the sheets Rosalinde tosses and turns, lunging at the air, clutching the plump pillows, writhing and wriggling, the luscious melodies presumably illustrative of her erotic dreaming. And, when winged bat-women sweep menacingly across the bedroom, we infer the stuff of her nightmares. Above hangs an outsize model of Eisenstein’s pocket watch — the very watch that will later incriminate him when he attempts to seduce a mysterious Hungarian Countess — pendulously, hypnotically swinging, a ‘path to the subconscious’, the director declares.

So, Alden envisages his characters as psychiatric case studies: their Vienna is a socially and emotionally repressive prison, and Falke a bat-cloaked Nosferatu, tempting them to turn the frustrated fantasies of their subconscious into corporeal fulfilment. An interesting conceit. But, one which quickly runs aground, the bubbly turning distinctly flat. For, Alden imposes a threatening subliminal world on a musical score which speaks of light-hearted, self-indulgent escapism, and on a libretto which is more farce than psychoanalytical theory. And the disjuncture — a psychiatric ‘split’ — is as large as the fissure which cracks the Victorian chamber wall at the end of Act 1. The music whizzes by, an ear-pleasing stream of movement and melody, while the action on stage stultifies, the characters as comatose as if they lay on a consulting couch.

Things might have been better if Alden had truly allowed his characters to ‘slip free from societal constraints and sip the heady champagne of pleasure and fulfilment’ in the Act 2 ball. But, while he declares that Falke invites his pawns to a ‘dreamy, libidinous party where they are given free rein to transcend their quotidian selves’, in fact the chasm in the wall of restraint opens on a distinctly dreary and featureless room, billed as Art Deco but consisting merely of a sweeping back-curtain — garishly lit by the psychedelic colours of Paul Palazzo’s lighting — and a nondescript staircase. Indeed, the occasional swivels of the stairway are the only indication that a dance might be underway, for the large chorus of cross-dressed, under-dressed revellers show little inclination to wiggle and frolic. Epitomising the absence of physical exuberance, they sing the rousing finale standing stock still on the stairway; a freeze-frame snap of a Hollywood sequence, this troupe hardly look ready to ‘dance all night’.

ENO-Die-Fledermaus_02.gifRichard Burkhard and Tom Randle

This immobility matters. The polkas and waltzes are not merely tuneful decorations but convey the sentiments of the text. Thus, it is with a waltz that the seducer, Alfredo, lures Rosalinde to drown her cares in champagne. And, Rosalinde saves her own reputation at the end of Act 1 with a polka which dupes Frank, the prisoner governer, into believing that Alfredo is her husband. Adele reads her sister’s letter inviting her to the party to the accompaniment of yet another polka; while the disguised Adele defends herself from Eisenstein’s attentions with a waltz, ‘My dear Marquis’. Falke’s gentle, sentimental waltz at the climax of the ball has hints of melancholy, as he toasts brotherhood and love. The characters are always dancing, and if they are dancing they are also probably seducing. Thus, motionless leads to meaninglessness.

The translation by Stephen Lawless and Daniel Dooner is full of witty rhyming repartee, but on this opening night many of the words were lost in the set’s vast empty spaces and the audience, with little on stage to indicate that a gag was on the way, largely remained in silent bafflement.

Not surprisingly, the cast struggle to establish credible, engaging characters and dramatic momentum. Even Tom Randle looked a bit lost as Eisenstein, though he sang with his usual power and lyricism. Andrew Shore, as a gender-bending Frank, used his considerable acting talents to get things moving along; and Edgaras Montvidas was a delightfully disreputable and foppish Alfred, demonstrating an appreciation of the absurd elements of the opera which Alden tried hard to bury beneath the Freudian symbolism. Richard Burkhard presented an assured Falke, a confident, slick Nick Shadow figure —although it was hard for the ‘master-of-ceremonies’ to impose his presence in the final Act, given that he spent its entirety in an airborne state, perched precariously on the suspended timepiece.

The rest of the cast were ultimately unable to overcome Alden’s static direction. Rosalinde is envisaged as a Freudian case study: a ‘hysterical woman’, trapped in a repressive marriage to a philandering husband, denied sexual fulfilment. Given that she was largely confined to her bed in Act 1 — albeit, sharing it with a host of others — and directed to sing her Csárdás from a stationary position on the far left of the stage, it was hardly surprising that Julia Sporsén was a rather underwhelming Rosalinde.

As Prince Orlovsky — no longer presented wryly en travesti but rather as a neurotic, misanthropic lesbian — Jennifer Holloway also struggled to convince. Orlovsky’s philosophy is that if he is intent on hedonistic fun, then so must all his guests indulge to excess, but as Holloway pounded the walls in self-pitying misery, it was hard to imagine a less hospitable party host. Holloway’s tone was warm and rich but a thick European accent muffled the text. Rhian Lois’s Adele was a bit too close to caricature, but her two showpiece arias were bright and vivacious, the ‘Laughing Song’ especially sparkly.

Simon Butteriss and Jan Pohl did their best with the bizarre characterisation of Dr Blind, Eisenstein’s incompetent lawyer, and Frosch, the prison jailor — the latter presented as an S&M obsessed Nazi, prone to violent spasms and vicious brutality.

Billed as ‘dangerous and sexy’, Alden’s production is in fact dull and soporific. Conductor Eun Sun Kim drew some infectious, sweet playing from the ENO orchestra, but the dances didn’t quite float and spin with the necessary weightless frothiness. Although Alden admits that the ‘hedonistic waltzes of Die Fledermaus ultimately sweep away its darker connotations in a tsunami of champagne’, in this instance the popping of corks was confined to the pit and a few vocal highpoints, and the end result was distinctly lacking in fizz.

Claire Seymour


Cast and production information:

Gabriel von Eisenstein, Tom Randle; Rosalinde, Julia Sporsén; Frank, Andrew Shore; Prince Orlovsky, Jennifer Holloway; Alfred, Edgaras Montvidas; Dr Falke, Richard Burkhard; Dr Blind, Simon Butteriss; Adele, Rhian Lois; Ida, Lydia Marchione; Frosch, Jan Pohl; Actors, Peter Cooney, Tom Fackrell, Stewart Heffernan, Adam Trembath; Director, Christopher Alden; Set Designer, Allen Moyer; Lighting Designer, Paul Palazzo; Costume Designer, Constance Hoffman; Conductor, Eun Sun Kim; Orchestra and Chorus of English National Opera. English National Opera, London Coliseum, Monday 30th 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):