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

The new Queen of the City of Birmingham Royal Symphony

Here is one of the next new great conductors. That’s a bold statement, but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment “is the biggest news in the conducting world.” But Ms. Mirga Gražinytė-Tyla will be getting a lot of weight on her shoulders.

Falstaff at Manitoba Opera

Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.

Gothic Schubert : Wigmore Hall, London

Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.

Rusalka, AZ Opera

On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.

First new Ring Cycle in 40 Years, Leipzig

Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.

San Jose’s Beta-Carotene Rich Barber

You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.

Manon Lescaut at Covent Garden

If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.

Fierce in War, dazzling in Peace: Joyce DiDonato at the Concertgebouw

Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.

Simplicius Simplicissimus

I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.

Lucia di Lammermoor at Lyric Opera of Chicago

For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.

Akhnaten Offers L A Operagoers Both Ear and Eye Candy

Akhnaten is the third in composer Philip Glass’s trilogy of operas about people who have made important contributions to society: Albert Einstein in science, Mahatma Gandhi in politics, and Akhnaten in religion. Glass’s three operas are: Einstein on the Beach, Satyagraha, and Akhnaten.

Shakespeare in the Late Baroque - Bampton Classical Opera

Shakespeare re-imagined for the very Late Baroque, with Bampton Classical Opera at St John's Smith Square. "Shakespeare, Shakespeare, Shakespeare....the God of Our Idolatory". So wrote David Garrick in his Ode to Shakespeare (1759) through which the actor and showman marketed Shakespeare to new audiences, fanning the flames of "Bardolatory". All Europe was soon caught up in the frenzy.

Soldier Songs in San Diego

David Little composed his one-man opera, Soldier Songs, ten years ago and the International Festival of Arts & Ideas of New Haven, Connecticut, premiered it in 2011. At San Diego Opera, the fifty-five minute musical presentation and the “Talk Back” that followed it were part of the Shiley dētour Series which is held in the company’s smaller venue, the historic Balboa Theatre.

Barber of Seville [Hollywood Style] in Los Angeles

On Saturday evening November 12, 2016, Pacific Opera Project presented Gioachino Rossini’s comic opera The Barber of Seville in an updated version that placed the action in Hollywood. It was sung in the original Italian but the translation seen as supertitles was specially written to match the characters’ Hollywood identities.

Madama Butterfly in San Francisco

A Butterfly for the ages in a Butterfly marred by casting ineptness and lugubrious conducting.

Kiss Me, Kate: Welsh National Opera at the Birmingham Hippodrome

In 1964, 400 years after the birth of the Bard, the writer Anthony Burgess saw Cole Porter’s musical comedy Kiss Me, Kate, a romping variation on The Taming of the Shrew. Shakespeare’s comedy, Burgess said, had a ‘good playhouse reek about it’, adding ‘the Bard might be regarded as closer to Cole Porter and Broadway razzmatazz’ than to the scholars who were ‘picking him raw’.

Beat Furrer FAMA - Hörtheater reaches London

Beat Furrer's FAMA came to London at last, with the London Sinfonietta. The piece was hailed as "a miracle" at its premiere at Donaueschingen in 2005 by Die Zeit: State of the Art New Music, recognized by mainstream media, which proves that there is a market for contemporary music lies with lively audiences

Franz Schreker : Die Gezeichneten (Les Stigmatizés). Lyon

Franz Schreker Die Gezeichneten from the Opéra de Lyon last year, now on arte.tv and Opera Platform. The translation, "The stigmatized", doesn't convey the impact of the original title, which is closer to"The Cursed".

The Anatomy of Melancholy

Semper Dowland, semper dolens (Always Dowland, always doleful) was the title chosen by John Dowland’s for one of his consort pieces and the motto that he took for himself. Twice rejected for the position of musician at the court of Queen Elizabeth, he is reputed to have been a difficult, embittered man. Melancholy songs were the fashion of the day, but Dowland clearly knew dark days of depression first hand.

Aida in San Francisco

An exquisite pit, a Busby Berkeley stage, ingenue performers. Populist opera in San Francisco — in November eleven performances of Aida (alternating with ten of Madama Butterfly).

OPERA TODAY ARCHIVES »

Performances

Judith Howarth as Mary Stuart [Photo by Robert Workman]
07 Oct 2013

Maria Stuarda, WNO

The second installment of Welsh National Opera’s Tudor trilogy, Donizetti’s Maria Stuarda saw

Maria Stuarda, WNO

A review by Robert Hugill

Above: Judith Howarth as Mary Stuart [Photo by Robert Workman]

 

Rudolf Frey at the helm, directing within designer Madeleine Boyd’s overall concept, with conductor Graeme Jenkins and a strong cast including Adina Nitescu as Elisabetta, Alastair Miles as Talbot, Gary Griffiths as Cecil, Bruce Sledge as Leicester, Judith Howarth as Maria Stuarda and Quite d Rebecca Afonwy-Jones as Anna. We saw the performance on 5 October 2013 at the Wales Millennium Centre in Cardiff. Whilst all concerned clearly worked hard, the performance failed to achieve the level of dramatic intensity and focus that I had been hoping for.

Donizetti’s opera failed during his lifetime, but it’s performance history has been transformed in the 20th century with striking interpretations by singers as diverse as Janet Baker, Joan Sutherland, Ann Murray and Sarah Connolly. The role of Maria Stuarda was sung, in the first Milan performances in 1835, by Maria Maliban which has led people to cast the role as mezzo-soprano though Donizetti probably intended both Maria and Elisabetta to be sung by sopranos. WNO followed this with their casting of both roles as sopranos, with Howarth and Nitescu.

Frey is a young Austrian director who has recently staged Verdi’s Nabucco in Salzburg. It was never going to be easy for him to produce Maria Stuarda within a concept conceived to fit Alessandro Talevi’s Anna Bolena and Roberto Devereux. Boyd’s black set and stylish black costumes were continued over from Anna Bolena and Boyd had created some extremely striking and stylish outfits for Nitescu as Elisabetta. New to Maria Stuarda were two huge boxes, two halves of a giant cube sitting on the revolve. One was white, with glass walls, Maria Stuarda’s prison and the other was a dark wood closet used by Elisabetta.

Quite firmly we were presented with a dichotomy, the dark Elisabetta paralleled with the light Maria. This found its way into many aspects of the staging, in act one scene two, when Maria was reveling in her freedom, not only did we hear the horns but was saw them and saw Elisabetta being dressed for the hunt as the two boxes had a transparent membrane between them. Later Frey used this to striking effect when Elisabetta was trying to decide whether to sign Maria’s death warrant, we saw Maria behind her mirroring her actions. And when the warrant was signed, Elisabetta drew a line in red across the membrane which effectively cut of Maria’s head. But too frequently, I felt that rather concentrating on dramatic atmosphere, Frey was signalling to us exactly what to think.

During the prelude we saw the courtiers pressing against Maria’s box, watching her as she gestured defiance. But the use of these boxes severely restricted the playing area, so that the court scene at the opening of act one was played on the narrow stage in front of the boxes with the courtiers arrayed in serried ranks on benches. Frey didn’t seem interested in striking effective stage pictures, but seemed content to assemble people in ranks. Ensembles saw the singers lined up at the front of the stage. And rather too often he used the device of having a single singer move whilst the rest of the stage froze. I’m afraid that by the end of act one, I was beginning to wonder whether Rudolf Frey actually liked bel canto opera, as too often his production worked against the grain of Donizetti’s drama, rather than with it. All this would not have mattered, if he had generated performances of focussed intensity from his principals, but unfortunately despite some extremely fine singing and a great deal of energy, the production did not coalesce into an effective whole.

The role of Elisabetta is firmly the seconda donna, she doesn’t really get much stage time but what she does get is terrific and the part is something of a gift for a singing actress. Nitolescu looked and acted the part, in dramatic terms she made a strong Elisabetta. But she had a tendency to swallow her words so that it was not clear what she was singing, and her tone was frankly rather squally. When singing quietly, she was capable of some fine grade singing, but when she pushed the voice the tone rather curdled. Unfortunately this crept into her whole performance, so that her Elisabettta did rather have an element of caricature about her.

Judith Howarth is a singer who has not received the attention which she deserves in the UK and I was pleased to hear her in the title role. She was dressed by Boyd in a similar style to all the other women, full skirts, leather bodice but in Howarth’s case the fabric was red tartan and the bodice brown leather, with a white blouse. The result rather gave her the look of a comedy bar-maid. And throughout the opera, it was a little unclear quite who this person was, I am not sure that Frey had a strong idea here. Instead of a noble queen suffering unjustly we got a character who seemed to be channelling Lucy Ewing (aka the poison dwarf) from Dallas. During her lovely entrance aria, which Howarth sang very finely, she and her lady in waiting lit up cigarettes and lounged against the walls of the box. Then in the next scene with Sledge’s Leicester, Howarth cavorted about like a comedy vamp.

This was frustrating because, apart from a couple of slightly unfocused top notes and an unfortunate E in alt, Howarth’s performance was highly musical and very stylish. All my doubts coalesced in the staging of the confrontation between the two queens at the end of act one. All concerned were encouraged to over act, with Nitescu spitting venom from the start, Howarth encouraged to be more virago than noble victim, and Gary Griffiths’ Cecil mincing about like poison-incarnate. The result looked over done and frankly, verged into comedy, as if Frey did not quite trust his material. But then Howarth sang the infamous Vile bastard phrase with such concentrated intensity and venom that made you realise there was the making of a strong performance underneath.

In act two, Nitescu’s opening scene with Griffiths and Sledge, did generate quite a frisson of drama and Frey’s coup of having Nitescu cut off Howarth’s head with the red line was certainly very striking. But from the second scene, the action concentrated on Howarth and we were able to appreciate the beautiful way with Donizetti’s music and the nice feeling for structure she showed as the performance built through Maria’s sequence of arias. The prayer at the opening of the final scene was profoundly lovely, but the aria in which Maria forgives Elisabetta was nearly torpedoed by having Howarth strip off her dark coat to reveal a brown leather jerkin, closely moulded to her body with a pair of hugely realistic breasts. I am still unclear of the iconography here, but Howarth performed with devastating aplomb and if you had listened with your eyes closed you would never have heard any disturbance in the vocal line.

Bruce Sledge gave ardent support as Leicester, revealing a robust tenor voice which was fully adept at Donizetti’s vocal lines. We heard Sledge in Santa Fe (in Rossini’s Maometto secondo) and he impressed then and impressed again. He sang with generous tone and a robust style, bringing great energy to the vocal line. Dramatically he was perhaps a little understated, but in the concept of the rather over-done moments in the production this was very welcome.

Gary Griffiths sang Cecil very well, but his performance seemed to be marooned in a bizarre concept of the character which involved much pouting and over-acting from Griffiths. I am not quite sure what Frey’s intentions were, be as realised here they rather disturbed the drama and distracted from what was a very fine musical performance.

Alastair Miles, having contributed an evil Enrico in Anna Bolena, was a noble and notable Talbot, even managing to get out a priest’s stole with aplomb. His big scene with Howarth in act two had its over-done moments, but over all the two artists generated a fine sense of the release which brought Maria to a new plane.

Graeme Jenkins conducted confidently and there were some nice moments. He had a tendency sometimes to let the music plod a bit, so that we had the odd rum-ti-tum moment which is always a danger in Donizetti. The orchestra did not seem to generate the same consistent intensity that we had heard the previous night.

This was a rather frustrating performance, in which the director’s konzept did not seem to quite match Donizetti’s music and which led to some rather unfocused performances. Whilst there were some fine moments, overall the performance lacked dramatic intensity. Thanks to Howarth’s extremely moving account of the title role, the final scenes had a nobility to them for which I was thankful.

Robert Hugill


Cast and production information:

Elisabetta: Adina Nitescu, Talbot: Alastair Miles, Cecil: Gary Griffiths, Leicester: Bruce Sledge, Anna: Rebecca Afonwy-Jones, Maria Stuarda: Judith Howarth. Director: Rudolf Frey, Designer: Madelein Boyd, Lighting: Matthew Haskins. Welsh National Opera at Wales Millennium Centre, 5 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):