08 Nov 2013
The Magic Flute, ENO, London
Mozart’s The Magic Flute at the Coliseum could give the ENO a welcome boost.
A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure, this new production presents the plot as the dying protagonist’s feverish hallucinations. The result is a frosty retelling of what is arguably Puccini’s most hot-blooded opera. Musically, the performance also left much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang bergetar akan terhapus.” (“The transient cannot hold on to stars lost in the Milky Way; that which quivers will be erased.”) As soprano Tony Arnold sang these words of Tony Prabowo’s chamber opera Pastoral, with astonishingly crisp Indonesian diction, the first night of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
Manitoba Underground Opera took audiences on a journey — literally and figuratively — as it presented its latest installment of repertory opera between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
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).
Mozart’s The Magic Flute at the Coliseum could give the ENO a welcome boost.
Simon McBurney's production is audacious but absolutely true to Mozart's cheeky, irreverent generosity of spirit. Tamino and Papageno find Enlightenment (and the girls of their dreams) because they dare face the tests before them. Each takes the journey in his own way: the saga transcends time and place. From Greek myth to Parsifal, even to Star Wars, the allegory refreshes itself in endless retelling. It is a universal voyage of self-discovery.
Ben Johnson as Tamino
Simon McBurney and Complicité create dazzlingly imaginative theatre. Their A Dog's Heart was astonishingly vivid. The opera was a mess but the staging turned it into art. With Mozart, McBurney has infinitely better music, and rises to the challenge. As we hear the Overture, we see a hand write words in chalk on a blackboard. As the opera evolves we learn its significance. Words communicate. We see images of books on shelves, and up to the moment mobile devices. The stage above the stage is a laptop or Notebook. It's suspended on wires from the roof and looks dangerously fragile, but that in itself has meaning. Finn Ross's' video projections are among the best in the business, and extremely well integrated into the drama. Technology may change the ways we express ourselves, but if we don't communicate, or refuse to engage with each other, we're lost. At the end, chalk figures proclaim "WISDOM LOVE". Simple and austere but all the more powerful for that.
Ben Johnson as Tamino (foreground), Rosie Aldridge, Eleanor Dennis, Clare Presland (L-R background) as the Three Ladies
Technology changes in theatre, too. Film and computer-generated images break down physical restraints of production and free imaginative possibilities. The Magic Flute IS magic after all, not realism. It cries for cosmic flights of fantasy. McBurney's designer, Michael Levine, gives us the night sky in all its glory : myriad sparkling stars in the firmament. The Queen of the Night (Cornelia Götz) in this production isn't spectacular but the forces she commands most certainly are. Extra-terrestrial sound effects amplify the sense of cosmic spaciousness. Off-stage noises are a natural part of staging. Here they rumble at the edge of consciousness. Gergely Madaras seems spurred to conduct with strong, dramatic flair. This highlighted the quiet moments when the Flute (Katie Bedfiord) emerged. The flute felt all the more magical and fragile. The Flute is more than an instrument. It is fundamental to the meaning of the opera. Like Papageno's bells, it evokes something pure, primeval and plaintive. McBurney's staging was musically as well as visually astute. The "birds" that fly in these woods were pieces of paper fluttering like the pages of books. Like the Flute and the bells, economy of gesture expresses deeper meaning.
This staging is beautiful, revealing its charms obliquely, much as the Singspiel tradition is more subtle than later forms of grand opera, and McBurney respects the vibe. The scene where Tamino and Pamina float, apparently suspended in space, surrounded by "birds" is magical. The English dialogue is genuinely witty. Papageno (Roland Wood) quaffs a bottle of Chateauneuf du papageno!
Roland Wood as Papageno and Devon Guthrie as Pamina
The singing and acting were also above average for the ENO, hamstrung as it is by the need to do operas in a language other than those for which they were written. This cast delivered with panache, communicating their enthusiasm with style and wit, obliterating the lumpen ENO Die Fledermaus, killed not by the staging but by the performance.
Ben Johnson sang Tamino. He has stage presence..He even looks right, and creates a Tamino with personality, doggedly battling the situation he's in. His firm, assertive singing showed that Tamino is not a spoiled princeling but a man of character and resolve who can face what Sarastro, and the world, throws at him.
Roland Wood sang Papageno, ostensibly the lesser, low-born character in the opera but fundamental to its meaning. Princes abound in classical art, but Mozart gives us Everyman as non-hero in a strikingly modern way. From Papageno we can trace a line through to Siegfried and even to Wozzeck, a role taken by many good Papagenos, and one which Wood is surely destined for. The Papageno songs are harder to carry off than they seem because a singer has to express the role's innate nobility while acting the inept Fool. Spontaneous applause after the Papageno/Papagena duet., and very well deserved indeed. I didn't like the fake provincial accent and Little Britain connotations which English theatre is obsessed with, but Roland Wood's personality shines through the disguise.
Mary Bevan as Papagena and Roland Wood as Papageno
Mozart's arias for Sarastro are so resoundingly written that they evoke the idea of Sarastro as a figure beyond time, an acolyte, perhaps, of Egyptian gods. James Cresswell sang the part well, though he didn't quite suggest the complexity of the character: Sarastro has very dark sides. He's an unforgiving judge rather than a father figure. Cornelia Götz sang The Queen of the Night. Here, she's no Darth Vader vamp, as in some stagings, but a surprisingly vulnerable woman. Her Ladies (Eleanor Dennis, Clare Presland, Rosie Aldridge) extend her part. Monostratos (Brian Galliford) conveys the Alberich-like animalism, suggesting that he's a dark cousin of Papageno, gone bad.
Devon Guthrie sang a lovely Tamina and Mary Bevan a spirited, lyrical Papagena. The Three Spirits were Alessio D'Andrea, Finlay A'Court and Alex Karlsson, costumed as ancients, whose Norn-like purpose they serve.
This Magic Flute might confound those who want their Mozart vacuous, but those who truly love the opera will get a lot from this highly individual, perceptive approach.
For more details check the ENO website