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

Christine Goerke - Strauss Elektra BBC Proms London

The second day of the Richard Strauss weekend at the BBC Proms saw Richard Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014 by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine Goerke in the title role. Felicity Palmer was Clytemnestra, Gun-Brit Barkmin was Chrysothemis, Robert Kunzli was Aegisthus and Johan Reuter was Orestes. The concert staging was by Justin Way.

Christine Goerke - Strauss Elektra BBC Proms London

The second day of the Richard Strauss weekend at the BBC Proms saw Richard Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014 by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine Goerke in the title role. Felicity Palmer was Clytemnestra, Gun-Brit Barkmin was Chrysothemis, Robert Kunzli was Aegisthus and Johan Reuter was Orestes. The concert staging was by Justin Way.

Powerful Mahler Symphony no 2 Harding, BBC Proms London

Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.

Nina Stemme's stunning Strauss Salome, BBC Proms London

The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings

Santa Fe Opera Presents Updated, at One Point Up-ended, Don Pasquale

On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!

Dolora Zajick Premieres Composition

At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.

Santa Fe Opera Presents Huang Ruo's Sun Yat-sen

By emphasizing the love between Sun Yat-sen and Soong Ching-ling, Ruo showed us the human side of this universally revered modern Chinese leader. Writer Lindsley Miyoshi has quoted the composer as saying that the opera is “about four kinds of love.” It speaks of affection between friends, between parents and children, between lovers, and between patriots and their country.

Britten War Requiem - Andris Nelsons, CBSO, BBC Prom 47

In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.

Santa Fe Opera Presents an Imaginative Carmen

Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.

Elgar Sea Pictures : Alice Coote, Mark Elder Prom 31

Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.

Berio Sinfonia, Shostakovich, BBC Proms

Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.

Four countertenors : Handel Rinaldo Glyndebourne

Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.

Santa Fe Opera Presents The Impresario and Le Rossignol

On August 7, 2014, the Santa Fe Opera presented a double bill of Wolfgang Amadeus Mozart’s The Impresario and Igor Stravinsky’s Le Rossignol (The Nightingale). The Impresario deals with the casting of an opera and Le Rossignol tells the well-known fairy tale about the plain gray bird with an exquisite song.

Barber in the Beehive State

Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.

Stravinsky : Oedipus Rex, BBC Proms

In typical Proms fashion, BBC Prom 28 saw Stravinsky's Oedipus Rex performed in an eclectic programme which started with Beethoven's Egmont Overture and also featured Electric Preludes by the contemporary Australian composer Brett Dean. Sakari Oramo,was making the first of his Proms appearances this year, conducting the BBC Symphony Orchestra, BBC Singers and BBC Symphony Chorus.

Santa Fe Opera Presents a Passionate Fidelio

Santa Fe Opera presented Beethoven’s Fidelio for the first time in 2014. Since the sides of the opera house are open, the audience watched the sun redden the low hanging clouds and set below the Sangre de Cristo mountains while Chief Conductor Harry Bicket led the Santa Fe Opera Orchestra in the rousing overture. At the same time, Alex Penda as the title character readied herself for the ordeal to come as she endeavored to rescue her unjustly imprisoned husband.

Rameau Grand Motets, BBC Proms

Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17.

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.

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.

OPERA TODAY ARCHIVES »

Performances

Blind Summit pupeteer and Pamela Helen Stephen as Suzuki [Photo by Robert Piwko]
22 Oct 2013

Madame Butterfly at ENO

First seen in 2005, and since feted in London (several times), New York and Lithuania, Anthony Minghella’s cinematic production of Madame Butterfly remains a breath-taking visual banquet.

Madame Butterfly at ENO

A review by Claire Seymour

Above: Blind Summit pupeteer and Pamela Helen Stephen as Suzuki [Photo © Robert Piwko]

 

The sumptuous splendour of Michael Levine’s opulent sets and Han Feng’s eye-catching costumes is an optical feast, and the tableaux and choreographed sequences, particularly those which open and close the opera, retain their gasp-rendering thrill. The japonaiserie is meticulous and authentically minimalist: low wooden dwellings, rooms like paper boxes, sliding doors and walls silently gliding into infinite formations, tea trays laid decorously on tatami mats. The kaleidoscopic array of geishas’ gowns and ceremonial headgear, set against the deep carmine of the rising sun or the emerald glow of green moonlight, is stunning.

Yet, so much of the design seems to me convey an idealised, Orientalist perspective, casting a Western eye on Japanese culture, underpinned by a score which is innately Eurocentric. Like Pinkerton, we are tourists in a foreign land, and perhaps guilty of indulging in what Edward Said described as a ‘Western style for dominating, restructuring and having authority over the orient’.

ENO_Butterfly_04.pngDina Kuzenetsova as Madam Butterfly, Alun Rhys-Jenkins as Goro and Pamela Helen Stephen as Suzuki [Photo © Robert Piwko]

The stunning skills of the puppeteers of Blind Summit astonish us with their eye-deceiving dexterity and the scenes which Minghella crafts have an undeniable visual exquisiteness; but, such pictures are essentially static, hypnotising the onlooker and drawing attention away from the emotional drama which unfolds through the music. For example, at the end of Act 1 the long duet of Butterfly, fearful of love’s fragility, and Pinkerton, unthinkingly indifferent to her terrors, touches us with less immediacy than does the sculptured landscape of disorientating paper moons and pendant floral fronds — trails of starry necklaces against the night sky. It is as if the flimsy tale of a love disregarded and betrayed cannot bear the ‘weight’ of the artistic realisation of the director’s lavish visual imagination.

It is, in fact, Peter Mumford’s marvellous lighting design which so magnificently generates the production’s shimmering exoticism, injecting drama into the pictorial vistas. Mumford crafts a constantly shifting world, one of appearances rather than materiality: wondrous, yet elusively insubstantial. He fashions a maze of interwoven reflections which extend upwards to the night sky and slithers downwards along Levine’s glimmering sloping stage. Despite the production’s Eurocentrism, the shifting images and shadows which Mumford sets in motion suggest a more authentic East, as they flicker and flutter across the mirror surfaces, as elusive and ambiguous as Butterfly’s own identity. In a land where power is in the hands of men, and women are valued only as the transient objects of male passion, the mirroring echoes both evoke a dreaming air, and also suggest Butterfly’s own search for the identity imposed upon her by, and reflected in, the eyes of others — that is, as she endeavours to become the object of Pinkerton’s fantasy.

ENO_Butterfly_01.pngDina Kuznetsova as Madam Butterfly and Timothy Richards as Pinkerton [Photo © Thomas Bowles]

Thus, Butterfly is herself a ‘puppet’ — as the blood-red kimono sashes with which the dancers encircle her immobile form confirm. But, Mumford’s lighting can hint emotional depths; in the aforementioned duet, for example, as the petals flicker fleetingly, they recall the hannabi displays so familiar of Japanese summer nights — their flowery fire is often multiplied by the dark waters above which they explode — and perhaps suggest the flame of passionate devotion which blazes in Butterfly’s heart.

Ironically it is the passive, self-abnegating Madame Butterfly, sung with seductive ease by Russian-American soprano Dina Kuznetsova, who in this production proves the strongest character; for while Japanese women are traditionally required to be compliant and submissive, it is Dina Kuznetsova and Pamela Helen Stephen, as her maid Suzuki, who vocally dominate the proceedings. Making her ENO debut, Kuznetsova used her warm, full voice to convey Butterfly’s tender devotion and constancy. Although perhaps somewhat mature for the role, she convinced and moved hearts: her soprano is ripe with Romantic lyricism, and full of dusky hues, but as she shows in the second Act, she can also spin a gorgeous pianissimo. Most impressively, she communicated every word of the text; for once the surtitles were largely redundant.

Kuznetsova’s haunting performance, and excellent diction, was matched by Pamela Helen Stephen’s characterful Suzuki; she had enormous stage presence, and in Act 3’s ‘Già il sole!’ the range and impact of the emotions conveyed was striking, from sorrowful resignation to helpless dismay.

Sadly, as Pinkerton Timothy Richards was less engaging. Also making his house debut, Richards sang sturdily but with little vocal diversity or musical characterisation. He displayed an unfortunate tendency to ‘shout’ at emotional highpoints, in order to be heard about the full orchestral surges. George von Bergen was a bumbling American Consul Sharpless, but dramatically and vocally he also seemed rather adrift; his voice was sufficiently resonant but at times lacked focus. And, the diction of both male leads was poor.

ENO_Butterfly_02.pngDina Kuznetsova as Madam Butterfly and George von Bergen as Sharpless [Photo © Thomas Bowles]

There were solid performances from Alun Rhys-Jenkins (Goro) and Alexander Robin Baker (Prince Yamadori); and Mark Richardson was fittingly imperious and formidable as Butterfly’s uncle, The Bonze, with a ferocious bite to his bark. Catherine Young made a strong impression as Kate Pinkerton.

Butterfly’s child is a bunraku-inspired, sailor-suited puppet-child; but while we marvel at the deftness of the black-costumed manipulators who imbue the marionette with uncanny veracity, the singularity of this lone puppet results in a distancing of our affections. The alien child seems strangely material and unyielding, at odds with the evanescence of the rest of the production.

There was another ENO debut in the orchestra pit, with conductor Gianluca Marciano taking the helm; the ENO orchestra gave a reliable performance but one which did not altogether capture the emotional heaves and peaks of the score.

In the final reckoning, Minghella’s visual alchemy casts its spell but it is Kuznetsova who makes the magic work. In Act 3, the lyrical force of her melodic utterances conquers the marvellous but, at times, diverting imagery; and, seduced, discarded and forgotten, her unwavering resolution makes up for the absence of consistently powerful dynamics between the other characters. Kuznetsova convinces us that, despite her assertion that she is now American, Butterfly — in re-enacting her father’s ritual suicide — is killed by the compelling, ineffaceable social mores of her own culture.

Claire Seymour

Madame Butterfly continues in repertory until 1 December.


Cast and production information:

Butterfly, Dina Kuznetsova; F.B. Pinkerton, Timothy Richards; Sharpless, George von Bergen; Suzuki, Pamela Helen Stephen; Goro Alun, Rhys-Jenkins; The Bonze, Mark Richardson; Prince Yamadori, Alexander Robin Baker; Kate Pinkerton, Catherine Young; Director, Anthony Minghella; Revival Director, Sarah Tipple; Original Associate Director & Choreographer, Carolyn Choa; Set Designer, Michael Levine; Costume Designer, Han Feng; Original Lighting Designer, Peter Mumford; Revival Choreographer, Anita Griffin; Puppetry, Blind Summit; Conductor, Gianluca Marciano; Translator, David Parry. English National Opera, London Coliseum, Monday 14th October 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):