Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

ETO Autumn 2020 Season Announcement: Lyric Solitude

English Touring Opera are delighted to announce a season of lyric monodramas to tour nationally from October to December. The season features music for solo singer and piano by Argento, Britten, Tippett and Shostakovich with a bold and inventive approach to making opera during social distancing.

Love, always: Chanticleer, Live from London … via San Francisco

This tenth of ten Live from London concerts was in fact a recorded live performance from California. It was no less enjoyable for that, and it was also uplifting to learn that this wasn’t in fact the ‘last’ LfL event that we will be able to enjoy, courtesy of VOCES8 and their fellow vocal ensembles (more below …).

Dreams and delusions from Ian Bostridge and Imogen Cooper at Wigmore Hall

Ever since Wigmore Hall announced their superb series of autumn concerts, all streamed live and available free of charge, I’d been looking forward to this song recital by Ian Bostridge and Imogen Cooper.

Treasures of the English Renaissance: Stile Antico, Live from London

Although Stile Antico’s programme article for their Live from London recital introduced their selection from the many treasures of the English Renaissance in the context of the theological debates and upheavals of the Tudor and Elizabethan years, their performance was more evocative of private chamber music than of public liturgy.

A wonderful Wigmore Hall debut by Elizabeth Llewellyn

Evidently, face masks don’t stifle appreciative “Bravo!”s. And, reducing audience numbers doesn’t lower the volume of such acclamations. For, the audience at Wigmore Hall gave soprano Elizabeth Llewellyn and pianist Simon Lepper a greatly deserved warm reception and hearty response following this lunchtime recital of late-Romantic song.

The Sixteen: Music for Reflection, live from Kings Place

For this week’s Live from London vocal recital we moved from the home of VOCES8, St Anne and St Agnes in the City of London, to Kings Place, where The Sixteen - who have been associate artists at the venue for some time - presented a programme of music and words bound together by the theme of ‘reflection’.

Iestyn Davies and Elizabeth Kenny explore Dowland's directness and darkness at Hatfield House

'Such is your divine Disposation that both you excellently understand, and royally entertaine the Exercise of Musicke.’

Paradise Lost: Tête-à-Tête 2020

‘And there was war in heaven: Michael and his angels fought against the dragon; and the dragon fought and his angels, And prevailed not; neither was their place found any more in heaven … that old serpent … Satan, which deceiveth the whole world: he was cast out into the earth, and his angels were cast out with him.’

Joyce DiDonato: Met Stars Live in Concert

There was never any doubt that the fifth of the twelve Met Stars Live in Concert broadcasts was going to be a palpably intense and vivid event, as well as a musically stunning and theatrically enervating experience.

‘Where All Roses Go’: Apollo5, Live from London

‘Love’ was the theme for this Live from London performance by Apollo5. Given the complexity and diversity of that human emotion, and Apollo5’s reputation for versatility and diverse repertoire, ranging from Renaissance choral music to jazz, from contemporary classical works to popular song, it was no surprise that their programme spanned 500 years and several musical styles.

The Academy of St Martin in the Fields 're-connect'

The Academy of St Martin in the Fields have titled their autumn series of eight concerts - which are taking place at 5pm and 7.30pm on two Saturdays each month at their home venue in Trafalgar Square, and being filmed for streaming the following Thursday - ‘re:connect’.

Lucy Crowe and Allan Clayton join Sir Simon Rattle and the LSO at St Luke's

The London Symphony Orchestra opened their Autumn 2020 season with a homage to Oliver Knussen, who died at the age of 66 in July 2018. The programme traced a national musical lineage through the twentieth century, from Britten to Knussen, on to Mark-Anthony Turnage, and entwining the LSO and Rattle too.

Choral Dances: VOCES8, Live from London

With the Live from London digital vocal festival entering the second half of the series, the festival’s host, VOCES8, returned to their home at St Annes and St Agnes in the City of London to present a sequence of ‘Choral Dances’ - vocal music inspired by dance, embracing diverse genres from the Renaissance madrigal to swing jazz.

Royal Opera House Gala Concert

Just a few unison string wriggles from the opening of Mozart’s overture to Le nozze di Figaro are enough to make any opera-lover perch on the edge of their seat, in excited anticipation of the drama in music to come, so there could be no other curtain-raiser for this Gala Concert at the Royal Opera House, the latest instalment from ‘their House’ to ‘our houses’.

Fading: The Gesualdo Six at Live from London

"Before the ending of the day, creator of all things, we pray that, with your accustomed mercy, you may watch over us."

Met Stars Live in Concert: Lise Davidsen at the Oscarshall Palace in Oslo

The doors at The Metropolitan Opera will not open to live audiences until 2021 at the earliest, and the likelihood of normal operatic life resuming in cities around the world looks but a distant dream at present. But, while we may not be invited from our homes into the opera house for some time yet, with its free daily screenings of past productions and its pay-per-view Met Stars Live in Concert series, the Met continues to bring opera into our homes.

Precipice: The Grange Festival

Music-making at this year’s Grange Festival Opera may have fallen silent in June and July, but the country house and extensive grounds of The Grange provided an ideal setting for a weekend of twelve specially conceived ‘promenade’ performances encompassing music and dance.

Monteverdi: The Ache of Love - Live from London

There’s a “slide of harmony” and “all the bones leave your body at that moment and you collapse to the floor, it’s so extraordinary.”

Music for a While: Rowan Pierce and Christopher Glynn at Ryedale Online

“Music for a while, shall all your cares beguile.”

A Musical Reunion at Garsington Opera

The hum of bees rising from myriad scented blooms; gentle strains of birdsong; the cheerful chatter of picnickers beside a still lake; decorous thwacks of leather on willow; song and music floating through the warm evening air.

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):