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

Will Don Quichotte Be the Last Production at San Diego Opera?

This quotation from Cervantes was displayed before the opening of the opera’s final scene:

“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”

Gound Faust - Calleja and Terfel, Royal Opera House London

Gounod's Faust makes a much welcomed return to the Royal Opera House. With each new cast, the dynamic changes as the balance between singers shifts and brings out new insights. In that sense, every revival is an opportunity to revisit from new perspectives. This time Bryn Terfel sang Méphistophélès, with Joseph Calleja as Faust - stars whose allure certainly helped fill the hall to capacity. And the audience enjoyed a very good show.

Syracuse Opera’s Porgy and Bess
Got Plenty O’ Plenty

The company ends its 2013-14 season on a high note with a staged performance of Gershwin’s theatrical masterpiece

A New Rusalka in Chicago

Lyric Opera of Chicago’s new production of Antonin Dvorak’s Rusalka is visually impressive and fulfills all possible expectations musically with unquestioned excitement.

Karlsruhe’s Mixed Blessing Ballo

The reliable Badisches Staatstheater has assembled plenty of talent for its new Un Ballo in Maschera.

Louise Alder, Wigmore Hall

This varied, demanding programme indisputably marked soprano Louise Alder as a name to watch.

Luke Bedford: Through His Teeth, Linbury, Royal Opera House

Can this be the best British opera in years? Luke Bedford’s Through His Teeth at the Royal Opera House’s Linbury Theatre is exceptional. Drop everything and go.

Powder Her Face, ENO

As one descends the steel steps into the cavernous bunker of Ambika P3, one seems about to enter rather insalubrious realms — just right one might imagine, then, for an opera which delves into the depths of the seedier side of celebrity life.

Iphigénie Fascinates in the Pfalz

Kaiserslautern’s Pfalztheater has produced a tantalizing realization of Gluck’s Iphigénie en Aulide, characterized by intriguing staging, appealing designs, and best of all, superlative musical standards.

ROH presents Cavalli’s L’Ormindo at the Sam Wanamaker Playhouse, London

Never thought I’d say it but......

Harrison Birtwistle, Elliott Carter, Wigmore Hall, London

Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.

Requiem for a Lost Opera Company

On Wednesday, March 19, 2014, General Director Ian Campbell of San Diego Opera announced that the company would go out of business at the end of this season. The next day the company performed their long-planned Verdi Requiem with a stellar cast including soprano Krassimira Stoyanova, mezzo-soprano Stephanie Blythe, tenor Piotr Beczala, and bass Ferruccio Furlanetto.

The Met’s Werther a tasty mix of singing, staging, acting and orchestral splendor

Visual elements in Richard Eyre’s striking production offset Massenet’s melodic shortcomings

Chicago’s New Barber of Seville

New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.

Lucia in LA: A Performance to Remember

On March 15, 2014, Los Angeles Opera presented Elkhanah Pulitzer’s production of the opera, which she set in 1885 when women were beginning to be recognized as persons separate from their fathers, brothers and husbands. At that time many European countries were beginning to allow women to own property, obtain higher education, and choose their husbands.

San Diego Opera Presents an All Star Ballo in Maschera

On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.

Anne Schwanewilms, Wigmore Hall

From the moment she walked, resplendent in red, onto the Wigmore Hall platform, Anne Schwanewilms radiated a captivating presence — one that kept the audience enthralled throughout this magnificent programme of Romantic song.

Die Frau ohne Schatten, Royal Opera

Magnificent! Following the first night of this new production of Die Frau ohne Schatten, I quipped that I could forgive an opera house anything for musical performance at this level, whether orchestral, vocal, or, in this case, both.

La Fille du regiment, Royal Opera

Donizetti’s opera comique La Fille du regiment returned to the Royal Opera House, Covent Garden, for its third revival.

Schoenberg and company

With Schoenberg, I tend to take every opportunity I can — at least since my first visit to the Salzburg Festival, when understandably I chose to see Figaro over Boulez conducting Moses und Aron, though I have rued the loss ever since.

OPERA TODAY ARCHIVES »

Performances

Alice Coote as Anne Strawson and Paul Appleby as Brian [Photo: Ken Howard/Metropolitan Opera]
02 Nov 2013

Two Boys at the Brave New Met

Whatever you think of some of the Metropolitan Opera’s recent productions, you cannot fault the Gelb administration for fearing to take risks.

Two Boys at the Brave New Met

A review by Estelle Gilson

Above: Alice Coote as Anne Strawson and Paul Appleby as Brian

Photos by Ken Howard/Metropolitan Opera

 

Along with controversial new productions of pre 20th century works, the company recently performed John Adams’ Dr. Atomic, Thomas Adès’ The Tempest and this season it is presenting its first commissioned opera, Nico Muhly’s Two Boys.

And you can’t have had the most casual relationship with opera without having heard or read about the Muhly work. In fact, you needn’t have had any idea that opera even exists as an art form, to have heard about it. Its libretto, based on an incident of Internet deception which took place in Manchester, England, had a Page One murky resonance recently for Americans in the romantic hoax perpetrated on San Diego Chargers’ linebacker Manti Te’o. To attract the young, hip and internet knowledgeable to the premiere, the Met advertised in real and virtual nooks and crannies of New York that had never seen opera ads, previews or posters before.

Two Boys is the first fruit of the Met/Lincoln Center Theater New Works Program, a commissioning project instituted in 2006 in which composers are paired with librettists, and eventually directors and designers, to develop new works for the two theaters. It’s a long, laborious process, which includes repeated workshops. For his first full length opera, Muhly was paired with a veteran writer Craig Lucas and producer Bartlett Sher. Yet even Two Boys’, world premier at the English National Opera in 2011, turned out to be a workshop. Since then the three have made numerous revisions of the libretto, music and staging. Fortunately the black clad spiky haired Muhly, now 32, and a prolific composer of classical works, as well as of pop, and movie music, is cooperatively inclined. “I’m so happy to change stuff “ he is quoted as saying, “I think most operas after their first performance get revised, since the beginning of time."

The libretto of Two Boys is presented as a police drama taking place in an industrial British city. Black and white cam tapes reveal 16 year old Brian, stabbing 13 year old Jake, and leaving him for dead. The task of unraveling how and why this happened is left to Anne Strawson, an oddly dense career detective, who strangely knows nothing about computers, and who is responsible for her mother’s care. It is a chance remark by her mother, which eventually leads her to understand the dimensions of the crime. Eventually, Strawson gets Brian to reveal an almost unbelievable story of the various people he met through a chat room, who led him to commit the crime. First there is Rebecca, then her brother, Jake, Fiona, their mother’s friend and a secret agent, the sinister gardener named Peter, all of whom drive him to the crime. They turn out to be the names of real people, recreated as inventions by the 13 year-old victim, the real Jake, who has engineered his own death.

The gist of the opera is in the manner in which these scenes unfold to reveal the characters’ backgrounds, as well as their real and imaginary encounters. “I go to school, I do my homework, I eat supper,” Brian tells Strawson as we follow his first tentative approach to a chat room, and his increasingly enticing, entangling, relationships with young Rebecca, seductive Fiona, frightening Peter, and finally with Jake himself. In Strawson’s first scene with her mother, we see her mother nag her about neglecting her appearance, and learn that in order to pursue her career, she had given up an infant son, who would now be Brian’s age.

Two Boys, with worried looking Strawson, conniving Jake, befuddled Brian, and an anonymous horde of chat room cohorts seeking they know not what of the Internet, is a dark tale with an undercurrent of delirium. Bartlett Sher’s production and Nico Muhly’s music capture its moods perfectly. Grayish blank panels shift from Strawson’s home to Brian’s, to Jake’s hospital room, with the silent rapidity of movie or television screens -and alternately serve as projection screens for wildly repetitive iterations of chat room dialogue. Textual representations and droning choral repetitions of fragments of internet “speech” such as “r u there?” appear repeatedly and fade, in flashing sometimes ominous animations created by 59 Productions. Muhly’s intriguing rhythmic orchestral patterns and striking harmonies, underline the delirium of the chatters’ amorphous yearnings. Costumes are drab and dull except for those imaginary characters, who seem real to Brian. Hofesh Shechter’s choreography of the chat room scenes illuminates the dull lives of the participants and the lurid possibilities offered by the Internet, as twisting, writhing dancers, perhaps portending evil, weave in out of the ranks of the massed “chatters’’.

In a brilliantly contrasting scene, ominous darkness gives way to peace as a stained glass window glows quietly in an Anglican Church. Here as the congregants sing and Brian comes face to face with the real Jake for the first time, Muhly’s music glows as well, with a kind of peace and limpidity. “Music of the English Renaissance and Tudor Music has been a cantus firmus through everything I do, not just musically, but also as a sort of philosophy of how to make music and think of yourself as a composer,” Muhly said in an interview.

BOYS_7371a.gifSandra Piques Eddy as Fiona and Andrew Pulver as the Boy soprano

Muhly’s large, imaginative musical palette includes pacing of vocal lines to understandable natural speech, and remarkable choral music. "Shimmering" is the word one most often encounters in reviews of Muhly’s chorales. There is a kind of dry Britten-like lyricism in his melodic writing, particularly in Strawson’s concluding aria, and intermittent patches of minimalism throughout the work, which Muhly’s mentor, Philip Glass, prefers to call "repetitively structured" music.

The Met gave us an excellent cast. Mezzo-soprano, Alice Coote, who made a moving Anne Strawson, Paul Appleby, a youthful 30 year old tenor, whose acting and singing were convincing as 16 year old Brian, and Andrew Pulver, an 11 year old boy soprano, coolly in command of his role as Jake. Their supporting cast was equally memorable.

Nico Muhly has written a potentially haunting opera — yet one that does not haunt enough — that neither seeks, nor achieves a climax, and whose passionless protagonists accede too easily to death and loss and pain.

One wonders whether Muhly or librettist Craig Lucas knew their characters well enough to understand the powerful emotions that drove two children to suicide and murder, and trapped a young police woman responsible for the care of a nagging mother without any visible disabilities, into a life of sexual and emotional repression.

Nevertheless, Two Boys gives reason to believe that Nico Muhly’s next opera — it has already been commissioned by the Met — will haunt viewers long after its last curtain drops.

And yes, however the Met did it, the audience at the opera’s second performance, which I attended, was young, hip and enthusiastic, particularly when the beaming composer appeared to acknowledge its cheers.

Estelle Gilson


Cast and production information:

Brian: Paul Appleby; Anne Strawson:Alice Coote; Cynthia, Jake’s mother: Caitlin Lynch; Rebecca: Jennifer Zetlan; Brian’s mother: Maria Zifchak; 13 year old Jake: Andrew Pulver; Anne’s Mum: Judith Forst; Fiona: Sandra Piques Eddy; Jake: Christopher Bolduc; Peter: Keith Miller. Conductor: David Richardson. Production: Bartlett Sher. Set Designer: Michael Yeargan. Costume Designer: Catherine Zuber. Lighting Designer: Donald Holder. Animation: 59 Productions. Choreographer: Hofesh Shechter.

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):