Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Adriana Lecouvreur Opera Holland Park

Twelve years after Opera Holland Park's first production of Francesco Cilea's Adriana Lecouvreur, the opera made a welcome return.

Back to the Beginnings: Monteverdi’s Il ritorno d’Ulisse in patria at Iford Opera.

The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre. The world of commercial public opera had only just dawned with the opening of the Teatro San Cassiano in Venice in 1637 and for the first time opera became open to all who could afford a ticket, rather than beholden to the patronage of generous princes. Monteverdi took full advantage of the new stage and at the age of 73 brought all his experience of more than 30 years of opera-writing since his ground-breaking L’Orfeo (what a pity we have lost all those works) to the creation of two of his greatest pieces, Ulysses and then his final masterpiece, Poppea.

Schoenberg : Moses und Aron, Welsh National Opera, London

Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission. It is a sad state of affairs when a season that includes both Boulevard Solitude and Moses und Aron is considered exceptional, but it is - and is all the more so when one contrasts such seriousness of purpose with the endless revivals of La traviata which, Die Frau ohne Schatten notwithstanding, seem to occupy so much of the Royal Opera’s effort. That said, if the Royal Opera has not undertaken what would be only its second ever staging of Schoenberg’s masterpiece - the first and last was in 1965, long before most of us were born! - then at least it has engaged in a very welcome ‘WNO at the Royal Opera House’ relationship, in which we in London shall have the opportunity to see some of the fruits of the more adventurous company’s endeavours.

Rossini is Alive and Well and Living in Iowa

If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.

Gergiev : Janáček Glagolitic Mass, BBC Proms

Composed during just a few weeks of the summer of 1926, Janáček’s Slavonic-text Glagolitic Mass was first performed in Brno in December 1927. During the rehearsals for the premiere - just 3 for the orchestra and one 3-hour rehearsal for the whole ensemble - the composer made many changes, and such alterations continued so that by the time of the only other performance during Janáček’s lifetime, in Prague in April 1928, many of the instrumental (especially brass) lines had been doubled, complex rhythmic patterns had been ‘ironed-out’ (the Kyrie was originally in 5/4 time), a passage for 3 off-stage clarinets had been cut along with music for 3 sets of pedal timpani, and choral passages were also excised.

Donizetti and Mozart, Jette Parker Young Artists Royal Opera House, London

With the conclusion of the ROH 2013-14 season on Saturday evening - John Copley’s 40-year old production of La Bohème bringing down the summer curtain - the sun pouring through the gleaming windows of the Floral Hall was a welcome invitation to enjoy a final treat. The Jette Parker Young Artists Summer Showcase offered singers whom we have admired in minor and supporting roles during the past year the opportunity to step into the spotlight.

Glyndebourne's Strauss Der Rosenkavalier, BBC Proms

Many words have already been spent - not all of them on musical matters - on Richard Jones’s Glyndebourne production of Der Rosenkavalier, which last night was transported to the Royal Albert Hall. This was the first time at the Proms that Richard Strauss’s most popular opera had been heard in its entirety and, despite losing two of its principals in transit from Sussex to SW1, this semi-staged performance offered little to fault and much to admire.

Il turco in Italia at the Aix Festival

Twenty years ago stage director Christopher Alden introduced Rossini’s then forgotten comedy to Southern California audiences in a production that is still remembered. In Aix Alden has revisited this complex work that many critics now consider Rossini’s greatest comedy.

First Night of the BBC Proms : Elgar The Kingdom

The BBC Proms 2014 season began with Sir Edward Elgars The Kingdom (1903-6). It was a good start to the season,which commemorates the start of the First World War. From that perspective Sir Andrew Davis's The Kingdom moved me deeply.

Le nozze di Figaro, Munich

One is unlikely to come across a cast of Figaro principals much better than this today, and the virtues of this performance indeed proved to be primarily vocal.

Winterreise and Trauernacht at the Aix Festival

That’s A Winter’s Journey and A Night of Mourning for metteurs-en-scène William Kentridge (South Africa) and Katie Mitchell (Great Britain), completing the clean sweep of English language stage directors for the Aix Festival productions this year.

James Gilchrist at Wigmore Hall

Assured elegance, care and thoughtfulness characterised tenor James Gilchrist’s performance of Schubert’s Schwanengesang at the Wigmore Hall, the cycles’ two poets framing a compelling interpretation of Beethoven’s An die ferne Geliebte.

Music for a While: Improvisations on Henry Purcell

‘Music for a while shall all your cares beguile.’ Dryden’s words have never seemed as apt as at the conclusion of this wonderful sequence of improvisations on Purcell’s songs and arias, interspersed with instrumental chaconnes and toccatas, by L’Arpeggiata.

Nabucco at Orange

The acoustic of the gigantic Théâtre Antique Romain at Orange cannot but astonish its nine thousand spectators, the nearly one hundred meter breadth of the its proscenium inspires awe. There was excited anticipation for this performance of Verdi’s first masterpiece.

Saint Louis: A Hit is a Hit is a Hit

Opera Theatre of Saint Louis has once again staked claim to being the summer festival “of choice” in the US, not least of all for having mounted another superlative world premiere.

La Flûte Enchantée (2e Acte)
at the Aix Festival

In past years the operas of the Aix Festival that took place in the Grand Théâtre de Provence began at 8 pm. The Magic Flute began at 7 pm, or would have had not the infamous intermittents (seasonal theatrical employees) demanded to speak to the audience.

Ariodante at the Aix Festival

High drama in Aix. Three scenarios in conflict — those of G.F. Handel, Richard Jones and the intermittents (disgruntled seasonal theatrical employees). Make that four — mother nature.

Lucy Crowe, Wigmore Hall

The programme declared that ‘music, water and night’ was the connecting thread running through this diverse collection of songs, performed by soprano Lucy Crowe and pianist Anna Tilbrook, but in fact there was little need to seek a unifying element for these eclectic works allowed Crowe to demonstrate her expressive range — and offered the audience the opportunity to hear some interesting rarities.

The Turn of the Screw, Holland Park

‘Only make the reader’s general vision of evil intense enough … and his own experience, his own imagination, his own sympathy … will supply him quite sufficiently with all the particulars.

Plenty of Va-Va-Vroom: La Fille du Regiment, Iford

It is not often that concept, mood, music and place coincide perfectly. On the first night of Opera della Luna’s La Fille du Regiment at Iford Opera in Wiltshire, England we arrived with doubts (rather large doubts it should be admitted)as to whether Donizetti’s “naive and vulgar” romp of militarism and proto-feminism, peopled with hordes of gun-toting soldiers and praying peasants, could hardly be contained, surely, inside Iford’s tiny cloister?

OPERA TODAY ARCHIVES »

Performances

Erwin Schrott as Procida and Lianna Haroutounian as Helene [Photo © ROH / Bill Cooper]
23 Oct 2013

London’s Vespers Ring the Right Bells

Even before it opened, Royal Opera’s Les vêpres siciliennes was the must-see production of the season.

London’s Vespers Ring the Right Bells

A review by James Sohre

Above: Erwin Schrott as Procida and Lianna Haroutounian as Helene

Photos © ROH / Bill Cooper

 

Much of this is owing to director Stefan Herheim’s growing reputation as a fascinating stage director, and the fact that this marked his debut in the UK, a country that has taught the world a thing or two about great theatre. Mr. Herheim’s riveting staging was indeed cause for celebration, but first it must be said that conductor Antonio Pappano arguably eclipsed every other achievement with so exceptional a reading of Verdi’s least appreciated mature opera.

“Passionate.” “Heartfelt.” “Electrifying.” These seem to be puny adjectives indeed to summarize Pappano’s achievement. “Definitive” might be the word. If the superlative ROH orchestra seemed to be on fire the whole night, it was Maestro Pappano who struck the match. Not only was his well-shaped performance idiomatically apt, characterized by breadth and power, but also his consummate uses of accelerando and rubato, at one with the singers, lent spontaneity and inevitability to the music-making that made us feel as if we were hearing it for the first time. The thundering ovation the orchestra and conductor received at curtain call was testament from an audience that knew they had just been gifted with a very special night at the opera.

Vepres_RO_1112.pngMicahel Volle as Montfort and Bryan Hymel as Henri

Les vêpres siciliennes is probably no one’s favorite Verdi. In spite of some glorious stretches, there are segments that are reminiscent of more successful prior Verdi, or portents of even better Verdi to come. When we encounter this piece at all it is usually in its Italian version (I Vespri Siciliani). Well, what a difference the language makes. Every principal artist is here flattered by the French pronunciation, which favors a slight cover and softness (over the brighter Italianate delivery). And what a privilege that we have a cast that can so memorably deliver the goods.

Pride of place must go to Michael Volle’s exquisitely wrought Guy de Monfort. Having greatly admired Mr. Volle in German opera, nothing about his prior achievements prepared me for the depth and power of the impression he made in this role. The language suits his mellow (yet substantial) baritone to a “T” and he explores and deploys an entire range of colors and emotions from the very bottom of the role to the extreme top. There was not a note he produced that was not fraught with great detail, no phrase that was not informed with emotional nuance. He did not so much sing the part, as live it, and Michael quite simply stole the show. Nor was he alone in his success.

Brian Hymel has come a long long way since I first admired his promising Faust at Santa Fe. His mastery of French styling is evidenced by his triumphs in ever more challenging assignments on world stages (to include ROH). Mr. Hymel seems to have become something of a ‘local hero’ owing to his having saved a production or two by stepping in on short notice. But just being ‘available’ would not be enough in these heady surroundings. His utterly secure, freely produced top gleams and sails into the house with power and brilliance. He has learned well to use forward placement and pure, limp production to make the voice meaty in the lower passages. With skill and artistry the tenor has grown into ‘the‘ leading exponent currently performing this repertoire.

As a lovely Hélène, Lianna Haroutounian filled in for the previously announced Marina Poplavskaya (who was ill). Ms. Haroutounian is the real deal, a true spinto voice that can meet all the Verdian demands, and boy do we need her now! Her shimmering, golden tone could serve up melting phrases and anguished outbursts alike. The glowing top register was complemented by a middle with good presence, and a ringing chest voice.
If the soprano fudged a little with her opening coloratura, and dragged the “Bolero” ever so slightly to negotiate the tricky leaps and turns, many another great interpreter has similarly negotiated these challenges. A major emerging talent, we will be proud to say we knew her ‘when.’

Vepres_RO_1353.pngErwin Schrott as Procida

As Jean Procida, Erwin Schrott often effects a big, take-no-prisoners vocal delivery which makes for good theatre, to be sure, but also invites uneven vocal production. While I admired his overall performance and enjoyed many statements and phrases, Mr. Schrott did not always succeed in marrying up his placement and his intent. “Et toi Palerme” was wonderfully varied, but the well-intended ebb and flow nonetheless exposed the singer’s somewhat weak legato. He was on firmer footing when his genial bass was more conversational in delivery, although I would urge him to moderate his dramatic instincts to pulverize climactic notes which can veer a mite off pitch. Still, Schrott is a mesmerizing performer and he wins the Nathan Gunn Award for getting to display his well-toned pecs in the prison scene.

As one would expect at Covent Garden, all of the minor roles were polished and poised, but I particularly enjoyed Jihoon Kim as Robert. This promising young singer is a Jette Parker Principal artist, and ROH is right to place such confidence in him and to nurture a performer of such accomplishment and real individuality. His rolling, dark bass surely has a bright future.

So what of the ‘controversial’ Stefan Herheim, whose leadership caused so much speculation, anticipation, and in some quarters, concern? In general terms, I find Mr. Herheim to be a serious director who does clean work. Not for him the easy way out. Everything he undertakes is thoroughly considered and consistent to itself. Many times this works brilliantly (the landmark Bayreuth Parsifal) and occasionally mis-fires (Brussel’s Rusalka-as-Belgian-streetwalker). Happily, Les vêpres siciliennes finds the heralded innovator at the top of his game.

Since the piece is somewhat weakly plotted, Herheim brilliantly approached it as a fantasy rather than a realistic history, paraphrasing the story within a meaningful context. The creative team re-imagined the setting in 1855 within the very ornate theatre that hosted the work’s Parisian premiere. His research led him to discover that not only were ballerinas idealized as the standard of contemporary feminine beauty, but they were also frequently reduced to being courtesans as male opportunists abused them to their own pleasurable ends. This concept further focuses on the theme of patrons who have the social and financial standing to use, and abuse art.

This ingeniously allows the entire piece to be set within the theatre, on- and back-stage, encompassing the auditorium itself. The ‘audience’ is at times viewing the story of the French occupation on the stage, and at times participating in the telling of it. Philipp Fürhofer’s monumental set design consists of ever-changing deconstructed components which include a massive gold proscenium arch, gilded ceiling appointments, three tiers of audience boxes, a huge mirrored wall complete with ballet barre, separate red and black grand drapes, and a gorgeous foyer wall with a painting of Etna erupting.

Vespres_RO_1335.pngBryan Hymel as Henri and Lianna Hartoutounian as Helene

Mr. Fürhofer has concocted effective traffic patterns for keeping these elements in motion, with changes fluidly executed by the ROH backstage team. As large and handsome as the structures are, they are often used quite simply to achieve maximum effect. For example, the three tiers of boxes reverse to expose the stairs, which suggests the prison by simple addition of an executioner’s chopping block and straw. The mirrors separate to create entryways, and then recede to give way to the entire company performing ‘on stage’ as the elite watch from their boxes. The chopping block gets re-purposed as a wedding altar with the addition of candles that also get placed along the apron, creating footlights. The scenic invention was matched by Anders Poll’s meticulous lighting design. Not only did he isolate moments and soloists to fine effect but his washes and color choices created the right atmosphere, moving playfully between fantasy and reality. The garish illumination of the real audience in the score’s final moments was meant to beg the question: were we in any way complicit in using art to selfish ends?

The choice of period provided a fertile starting point for Gesine Völlm’s gorgeous costume designs. The elegant evening wear extended to Hélène’s resplendent sequined gowns. By contrast, the ‘actors’ performing the tale of the French-Italian conflict for the glitterati were decked out in a riot of colorful peasant folk costumes. With all this technical excellence in his arsenal, Mr. Herheim has crafted a wondrous re-telling of the story.

The overture is staged, opening with ballerinas in repose, in traditional white tutus. Seated in a chair down right, Procida is the ballet master, who rouses his charges to do their daily barre work. This serene, methodical fantasy milieu soon gives way to the intrusion of militiamen, who terrorize the women. Monfort brutally rapes one of the ballerinas, prompting three dancers to appear in black tutus, one injured, one pregnant, and one bearing a babe in arms. Soon, the young boy (Henri) appears who is the product of Monfort’s lust.

Herheim effectively uses the boy as a recurring visual, to include reappearing to be confronted by Monfort during his great aria, then as an axe-wielding executioner, and finally as a winged cupid in the wedding. The director has found considerable wit in this gloomy tale, witness the scene in which Monfort incites conspirators to battle and they respond by doing ballet barre work, daggers in hand.

There is also ingenious interweaving of dance throughout, which admirably unites and furthers the concept. Choreographer André de Jong has commendably utilized his corps in a tantalizing blend of modern story-telling served up through a traditional dance ‘vocabulary.’ The lovely use of the ballerinas to frame Procida for his great aria was but one of several thoroughly bewitching moments.

In addition to careful planning and well-judged artistic decisions, Mr. Herheim’s greatest strength may be his uncanny ability to inspire his actors to truthful, deeply felt performances of great specificity. His collaboration with Mr. Schrott to create a fey, yet feral ballet master of a Procida was genius. The emotional journey that Henri and Monfort took in their extended duet was stunning in its rich detail, only to be surpassed by the ensuing tenor-soprano duet. What volumes it spoke as the duo confronted each other while circling the chopping block that awaited them.

And what a coup de theatre lay in wait in the last scene! Fantasy finally morphs into phantasmagoria and Procida appears in drag (no kidding!), his gown paraphrasing the soprano’s first act black number, but here the underskirt is sparkling with red sequins. When he/she plucks up the French flag off the ground and begins massacring people by spearing them with the pole, insanity rules, art is used and abused, the Sicilians have been sacrificed, and the on-stage audience has been sated.

When normalcy returns, Monfort returns, no one is really dead (just ‘used’ for effect), curtain calls are posed, and then . . .well, you’ll have to see for yourself, if you can score a ticket. Stefan Herheim continues to impress, enrich, invent, delight, and mature as a pre-eminent director of our time, and we are all the better for it.

James Sohre


Cast and production information:

Thibault: Neal Cooper; Robert: Jihoon Kim; Le Sire de Béthune: Jean Teitgen; Le Comte de Vaudemont: Jeremy White; Daniéli: Nicolas Darmanin; La Duchesse Hélène: Lianna Haroutounian; Ninetta: Michelle Daly; Guy de Monfort: Michael Volle; Henri: Bryan Hymel; Jean Procida: Erwin Schrott; Mainfroid: Jung Soo Yun; Conductor: Antonio Pappano; Director: Stefan Herheim; Set Design: Philipp Fürhofer; Costume Design: Gesine Völlm; Lighting Design: Anders

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):