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

An English Winter Journey

Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.

History Repeating Itself: Prokofiev’s Semyon Kotko, Amsterdam Concertgebouw

A historical afternoon at the NTR Saturday Matinee occurred with an epic concert version of Prokofiev’s Soviet Opera Semyon Kotko.

L’amour de loin at the Metropolitan Opera

Opening night at the Metropolitan is a gleeful occasion even when the composer is long gone, but December 1st was an opening for a living composer who has been making waves around the world and is, gasp, a woman — the second woman composer ever to have an opera presented at the Met.

La finta giardiniera at the Royal College of Music

For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.

Lust for Revenge: Barenboim and Herlitzius fire up Strauss’s Elektra in Berlin

As the German language describes so beautifully, a “Schrei aus tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra from the depths of her soul.

Semyon Bychkov heading to NYC and DC with Glanert and Mahler

Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.

Lost Stravinsky re-united with Rimsky-Korsakov, Gergiev, Mariinsky

Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.

Philippe Jaroussky at the Wigmore Hall: Baroque cantatas by Telemann and J.S.Bach

On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.

The new Queen of the City of Birmingham Symphony Orchestra

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.

OPERA TODAY ARCHIVES »

Performances

Jacques Offenbach ca. 1860 [Source: Wikipedia]
17 Dec 2013

Offenbach’s Fantasio from Opera Rara

Premiered in Paris in 1872, Jacques Offenbach’s Fantasio received just ten performances before the opera was withdrawn and its composer found himself on the receiving end of bitter attacks and criticism.

Offenbach’s Fantasio from Opera Rara

A review by Claire Seymour

Above: Jacques Offenbach ca. 1860 [Source: Wikipedia]

Photos by Russell Duncan courtesy of Opera Rara

 

Fantasio_Brenda-Rae-and-Sarah-Connolly.gifBrenda Rae and Sarah Connolly

On the evidence of this first UK performance by the Orchestra of the Age of Enlightenment and Opera Rara, this failure was certainly not a result of a dulling of Offenbach’s characteristic wit or for want of a lively tune or two.

Jean-Christopher Keck — who is responsible for this new performing edition of Fantasio (the original was lost when the Salle Favart, home to the Opéra-Comique burned to the ground in 1887) — suggests that the opera bombed largely because of bad timing. As a German-born Frenchman writing during the aftermath the Franco-Prussian war, Offenbach was not popular among the musicians of the Opéra-Comique. Moreover, the French, eager for some light relief following the deprivations of war and their recent defeat by the forces of the German coalition, were probably less than delighted to be presented with an opera based on a play by Alfred de Musset which had had little success when staged at the Comédie-Française in 1866 and which, to top it all, was set in Munich.

Whatever the merits of de Musset’s drama, the libretto which his brother Paul fashioned from the original play is a rather limp affair lacking either the sparkle and zest of La vie parisienne, or the shadows and complexity of Les contes d’Hoffmann.

The beautiful Bavarian princess, Elsbeth, who is mourning the death of the court jester, Saint-Jean, has been betrothed by her father to the Prince of Mantua. The Prince has arrived with aide, Marinoni, to claim his bride, and is greeted by crowds of festive townspeople eager to celebrate the nuptial union. The students, however, do not share the general mood of euphoria; in particular, the melancholy dreamer, Fantasio, feels pity for the princess who is to be wed to a complete stranger. He decides to don the deceased jester’s costume, in order to approach the princess; the disguise will also, fortuitously, divert the police who are chasing him for bad debts.

Fantasio_Neal-Davies.gifNeal Davies

For reasons not entirely clear, Marinoni and the Prince swap identities, and when the ‘Prince’ is introduced to Elsbeth, Marinoni’s less than aristocratic comportment does not make a good impression on the princess. Her first meeting with Fantasio is hardly more promising, for she objects to the scholar’s ironic garb, but his waggishness and kindness soften her heart. Meanwhile, Elsbeth’s page, Flamel, has discovered the Prince’s subterfuge; when all are gathered in public, the ‘jester’ fulfils his courtly role by wickedly flipping the royal imposter’s wig into the air. Ailing in gaol as a result of his impertinence, Fantasio is rescued by the now enamoured princess, who gives him the key to her garden. The humiliated and Prince and the enraged King are about to declare war between their two nations, when Fantasio intervenes and pleads for peace. The Prince decides that Elsbeth is not the bride for him and sets off home. The King rewards Fantasio for his services, naming him a Prince; when Fantasio tries to return the key to Elsbeth, she urges him to keep it.

Offenbach’s score contains many musical gems, but the overture gives little hint of the treasures to come. During the slow, mysterious introduction, Mark Elder, conducting without a baton, subtly coaxed some delicate playing from the instrumentalists of the Orchestra of the Age of Enlightenment. The wide tessitura — gentle flutes aloft, unison celli below — and airy texture, together with the rather tentative melodic gestures, created an ambiguous, slightly unsettling tone, before the launch of a zippy allegro got the show on the road. But, the overall effect was rather fragmented.

This faltering forward momentum was a problem throughout the first act, with its fairly long exposition. Perhaps a staged production would create more dramatic drive, but here the spoken dialogue — even though the French was delivered with panache — and standard evening wear, barring Fantasio’s colourful jackets, made things feel rather sluggish.

The mood whipped up in the second act, though; for it’s here that the trademark Offenbach show-stoppers — offering both froth and charm, rapture and serenity — are to be found. And, it was also here that American soprano Brenda Rae’s star quality was revealed. As Elsbeth, in her first Act aria Rae’s rather understated downheartedness did not make much of an impression, the voice generally light and pleasant but lacking strong characterisation. However, in ‘Quand l’ombre des arbres’ the bright clarity, gleaming tone, pinpoint accuracy and sheer stylishness of Rae’s virtuosic runs, leaps and twirls were remarkable; despite the technical challenges she truly acted with her voice. The feistiness and pettishness beneath the decorous young maiden’s obedience came to the fore, particularly in the subsequent duet, ‘Je n’ai donc rien de plu pour consoler mon coeur’, when she pours out her heart to Fantasio: “When you’re sixteen you still have time to be miserable”!

Fantasio_Sir-Mark-Elder.gifSir Mark Elder

The title role seems tailor-made for Sarah Connolly’s luscious mezzo, as perfectly fitted as her gorgeous burgundy velvet jacket; but while she certainly looked the part and used the rich depths of her voice with customary acumen, Connolly’s melancholy dreamer, all brooding reflection and self-absorption, didn’t have quite enough spirit and romantic fire. It didn’t help that she was rather bound to the score, especially in the spoken dialogue, and in contrast to most of the other principals. Fantasio’s opening Act 1 aria, ‘Voyez dans la nuit brune’, in which he addresses the moon marvelling at its beauty, was suitably meditative and contained; and Connolly sustained a beautiful line in the Act 3 duet when, languishing in his prison cell, Fantasio is visited by Elsbeth, who fears that his bravery has been in vain and her marriage is inescapable. But, elsewhere I’d have liked a bit less Hoffmann-esque introspection and more roguishness and comic élan.

As the Prince and his manservant, baritone Russell Braun and tenor Robert Murray were a superb double act. They relished the score’s wit, and the energy of their exchanges made the farcical costume-swapping seem ‘credible’ — even as they wryly traded one black jacket for another! Braun’s naval-gazing aria, ‘Je ne serai jamai aimé pour moi-même’, was robust and fittingly narcissistic — ‘What rapture I’d feel if I were ever loved for myself’: the beautifully controlled weightlessness of ‘rapture’, complemented by some lovely woodwind solos, revealed the extent of the Prince’s solipsism. Murray’s Act 3 aria, ‘Reprenez cet habit mon prince’, as Marinoni hands back his master’s finery, was well-acted, the tone earnest, the trills graceful.

The rest of the cast were committed and uniformly more than competent. As Flamel, mezzo-soprano Victoria Simmonds sang with warmth and focus. Brindley Sherratt was appropriately regal in manner as the Bavarian monarch, but might have employed a touch more heft to suggest the weight of imperial haughtiness. Bass-baritone Neal Davies was excellent as Sparck, aptly conveying the buoyant confidence of youth; Aled Hall (Facio) and Gavan Ring (Hartmann) were convincing as his fellow students.

The Opera Rara Chorus were in gloriously full voice, responding with vigour to Elder’s encouragements — although at times, and perhaps understandably, heads were buried in scores. Elder made certain that every instrumental detail in the score was cleanly heard; pizzicati were precise and meaningfully placed, there was some lovely playing from the first horn, extending and duetting with the vocal melodies, and Pierre Doumenge’s cello solo was expressively executed. In the Act 2 prelude, imposing divided cello were balanced by the tender grace of the violin melody; at the start of Act 3, the blare of the brass was countered by the solo oboe’s seductive curling arcs. There are some self-quotations and some humdrum passages in the score, but Elder made sure that the moments that count really did speak. He even grabbed some of the dramatic limelight, as the tailor to whom Fantasio resorts to purloin the late jester’s gaudy motley.

Inevitably, there were some theatrical coups that did not come off on the concert platform, but some gentle, self-aware irony helped to smooth over the cracks. I felt that Elder might have stirred up the tempo still further, particularly in the act finales; perhaps in the theatre things would more naturally race along. I’m not sure that Fantasio has sufficient dramatic interest and coherence to deserve the epithet, ‘masterpiece’ (the opening is slow, and the third act finale a little cumbersome); but this welcome and accomplished performance certainly made a persuasive case for its musical merits.

Claire Seymour


Opera Rara will release a CD recording of Fantasio in 2014.

Cast and production information:

Brenda Rae, Elsbeth (La Princesse); Sarah Connolly, Fantasio; Victoria Simmonds, Flamel; Robert Murray, Marinoni; Russell Braun, Le Prince; Neal Davies, Sparck; Brindley Sherratt, Le Roi; Aled Hall, Facio; Gavan Ring, Hartmann; Sir Mark Elder, conductor; Orchestra of the Age of Enlightenment; Opera Rara Chorus. Royal Festival Hall, London, Sunday, 14th December 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):