11 Oct 2013
The Coronation of Poppea, ETO
James Conway’s production of Monteverdi’s final masterpiece, L’incoronazione di Poppea was
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw Orchestra’s season with a slightly uneven performance of Mahler’s Resurrection Symphony. With four planned, this staple repertoire for the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful production. With magnificent voices, Andreas Schager and Dorothea Röschmann rescued Michael Thalheimer’s grotesque staging of von Weber’s Der Freischütz. At Staatsoper Unter den Linden, Alexander Soddy led a richly detailed, transparent and brilliantly glowing Berliner Staatskapelle.
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
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When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an intriguing American double bill of rarities. An experience that was well worth the trip to this desolate ghost town, remnant of industrial West Germany.
James Conway’s production of Monteverdi’s final masterpiece, L’incoronazione di Poppea was
first performed last November by students from the Royal College of Music. Now it is revived, at the same Britten Theatre, but by English Touring Opera, as part of its Venetian season. It made a still greater impression upon me than last year; whilst the earlier cast had sung well and deserved great credit, the professional singers of ETO seemed more inside their roles, as much in stage as purely musical terms.
Conway’s production holds up very well. Its perhaps surprising relocation of the action to a parallel universe in which a Stalinist Russia existed without the prude Stalin — ‘just the breath of his world,’ as Conway’s programme note puts it — provides a highly convincing reimagination of the already reimagined world of Nero. ‘Stalin’s bruising reign convinced me,’ Conway writes, ‘that this was a place in which Nerone might flourish, from which Ottone, Drusilla, Ottavia, and Seneca might suddenly disappear, and in which all might live cheek by jowl in a sort of family nightmare, persisting in belief in family (or some related ideal) even as it devours them.’ And so it comes to pass, from the Prologue in which La Fortuna, La Virtù, and Amore unfurl their respective red banners, setting out their respective stalls, until Poppea’s (and Amore’s) final triumph. Claustrophobia reigns supreme, save for the caprice of Amore himself, here dressed as a young pioneer, ready to knock upon the window at the crucial moment, so as to prevent Ottone from the murder that would have changed everything. Samal Black’s set design is both handsome and versatile, permitting readily of rearrangement, and also providing for two levels of action: Ottavia can plot, or lament, whilst Poppea sleeps. Conway’s idea of Poppea as an almost Lulu-like projection of fantasies in an opera whose game is power continues to exert fascination, and in a strongly acted performance, proves perhaps more convincing still than last time. Where then, the blonde wig had seemed more odd than anything else, here the idea of a constructed identity, designed to please and to further all manner of other interests, registers with considerable dramatic power. The seeping of blood as the tragedy — but is it that? — ensues makes an equally powerful point, albeit with relative restraint; this is not, we should be thankful, Lady Macbeth of Mtsensk or some other instance of Grand Guignol. Above all, the Shakespearean quality of Monteverdi’s imagination, unparalleled in opera before Mozart, registers as it must. One regretted the cuts, but one could live with them in as taut a rendition as this.
Michael Rosewell’s conducting had gained considerably in fluency from last time. I feared the worst from the opening sinfonia, in which ornamentation became unduly exhibitionistic — I could have sworn that I heard an interpolated phrase from the 1610 Vespers at one point — and the violins were somewhat painfully out of tune, my fears were largely confounded. It is a great pity that we still live in a climate of musical Stalinism, in which modern instruments are considered enemies of the people than the kulaks were, but continuo playing largely convinced and string tone, even if emaciated, at least improved in terms of intonation. For something more, we must return, alas, to Leppard or to Karajan.
Moreover, it was possible — indeed, almost impossible not — to concentrate upon the musico-dramatic performances on stage. Helen Sherman’s Nerone displayed laudable ability to act ‘masculine’, at least to the dubious extent that the character deserves it, and great facility with Monteverdi’s lines, even when sung in English. Paula Sides proved fully the equal both of Monteverdi’s role and Conway’s conception. Hers was a performance compelling in beauty and eroticism; indeed, the entwining of the two was impressive indeed. The nobility but also the vengefulness of Ottavia came through powerfully in Hannah Pedley’s assumption, her claret-like tintà a rare pleasure. Michal Czerniawski again displayed a fine countertenor voice as Ottone, engaging the audience’s sympathy but also its interest; this was no mere cipher, but a real human being. Much the same could be said of Hannah Sandison’s Drusilla, save of course for the countertenor part. Piotr Lempa has the low notes for Seneca, though production can be somewhat uneven, perhaps simply a reflection of a voice that is still changing. John-Colyn Gyeantey’s Arnalta was more ‘characterful’ than beautifully sung, but perhaps that was the point. Pick of the rest was undeniably Jake Arditti’s protean Amor, as stylishly sung as it was wickedly acted. The cast, though, is more than the sum of its parts, testament to a well-rehearsed, well-c0nceived, well-sung production of a truly towering masterpiece.
Cast and production information:
Nerone: Helen Sherman; Seneca: Piotr Lempa; Ottavia: Hannah Pedley; Nutrice: Russell Harcourt; Lucano: Stuart Haycock; Liberto: Nicholas Merryweather; Poppea: Paula Sides; Arnalta: John-Colyn Gyeantey; Ottone: Michal Czerniawski; Drusilla: Hannah Sandison; Amor: Jake Arditti. Director: James Conway; Revival director: Oliver Platt; Designs: Samal Blak; Lighting: Ace McCarron. Old Street Band/Michael Rosewell (conductor). Britten Theatre, Royal College of Music, Wednesday 9 October 2013.