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

Samling Showcase, Wigmore Hall

Founded in 1996, Samling describes itself as a charity which ‘inspires musical excellence in young people’.

La cenerentola in San Francisco

The good news is that you don’t have to go all the way to Pesaro for great Rossini.

Rameau : Maître à danser - William Christie, Barbican London

Maître à danser: William Christie and Les Arts Florissants at the Barbican, London, presented a defining moment in Rameau performance practice, choreographed with a team of dancers. Maître à danser, not master of the dance but a master to be danced to: there's a difference. Rameau's music takes its very pulse from dance. Hearing it choreographed connects the movement in the music to the exuberant physical expressiveness that is dance.

Le Nozze di Figaro — or Sex on the Beach?

The most memorable thing (and definitely not in a good way) about this performance of Le Nozze di Figaro at the Serbian National Theatre in Belgrade was the self-serving, infantile, offensive and just plain wrong production by celebrated Serbian theatre director Jagoš Marković.

The Met mounts a well sung but dramatically unconvincing ‘Carmen’

Should looks matter when casting the role of the iconic temptress for HD simulcast?

Maurice Greene’s Jephtha

Maurice Greene (1696-1755) had a highly successful musical career. Organist of St. Paul’s Cathedral, a position to which he was elected when he was just 22 years-old, he later became organist of the Chapel Royal, Professor of Music at the University of Cambridge and, from 1735, Master of the King’s Music.

Tosca in San Francisco

Yet another Tosca is hardly exciting news, if news at all. The current five performances have come just two years after SFO alternated divas Angela Gheorghiu and Patricia Racette in the title role.

Antonin Dvořák: The Cunning Peasant (Šelma Sedlák)

What an enjoyable opportunity to encounter Dvořák’s sixth opera, Šelma Sedlák¸or The Cunning Peasant!

Idomeneo, Royal Opera

Whether biblical parable or mythological moralising, it’s all the same really: human hubris, humility, sacrifice and redemption.

Donizetti’s Les Martyrs — Opera Rara, London

Opera Rara brought a rare performance of Donizetti’s first opera for the Paris Opera to the Royal Festival Hall on 4 November 2014, following recording sessions for the opera.

Luca Pisaroni in San Diego

Bass baritone, Luca Pisaroni, known to opera lovers throughout the world for his excellence in Mozart roles, offered San Diego vocal aficionados a double treat on October 28th: his mellifluous voice, and a recital of German songs.

La bohème, ENO

Jonathan Miller’s production of La bohème for ENO, shared with Cincinnati Opera, sits uneasily, at least as revived by Natascha Metherell, between comedy and tragedy.

Florian Boesch, Wigmore Hall - Liszt, Strauss and Schubert

Any Florian Boesch and Malcolm Martineau performance is superb, but this Wigmore Hall recital surprised, too. Boesch's Schubert is wonderful, but this time, it was his Liszt and Strauss songs which stood out. This year at the Wigmore Hall, we've heard a lot of Liszt and a lot of Richard Strauss everywhere, establishing high standards, but this was special.

Wexford Festival 2014

The weather was auspicious for Wexford Festival Opera’s first-night firework display — mild, clear and calm. But, as the rainbow rockets exploded over the River Slaney, even bigger bangs were being made down at the quayside.

The Met’s ‘Le Nozze di Figaro’ a happy marriage of ensemble singing and acting

The cast of supporting roles was especially strong in the company’s new production of Mozart’s matchless masterpiece

Syracuse Opera’s ‘Die Fledermaus’ bubbles over with fun, laughter and irresistible music

The company uncorks its 40th Anniversary season with a visually and musically satisfying production of Johann Strauss Jr.’s farcical operetta

Capriccio at Lyric Opera of Chicago

Although performances of Richard Strauss’s last opera Capriccio have increased in recent time, Lyric Opera of Chicago has not experienced the “Konversationsstück für Musik” during the past twenty odd years.

Anna Netrebko, now a dramatic soprano, shines in the Met’s dark and murky ‘Macbeth’

The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission

Arizona Opera Presents First Mariachi Opera

Houston Grand Opera commissioned Cruzar la Cara de la Luna from composer José “Pepe” Martínez, music director of Mariachi Vargas de Tecalitlán, who wrote the text together with Broadway and opera director Leonard Foglia. The work had its world premier in 2010. Since then, it has traveled to several cities including Paris, Chicago, and San Diego.

Plácido Domingo: I due Foscari, London

“Why should I go to hear Plácido Domingo” someone said when Verdi’s I due Foscari was announced by the Royal Opera House. There are very good reasons for doing so.

OPERA TODAY ARCHIVES »

Performances

Onegin Montpellier [Photo by Marc Ginot]
21 Jan 2014

Eugene Onegin in Montpellier

Entering the hall there arose the Dantesque “abandon all hope ye who enter” feeling — a cluttered a vista socialist setting, a poster of Lenin and large letters proclaiming Moscow, December 1999.

Eugene Onegin in Montpellier

A review by Michael Milenski

Above: Dina Kuznetsova as Tatiana, Lucas Meachem as Eugene Onegin [Photo Marc Ginot / Opéra national de Montpellier]

 

Maybe Pushkin never existed and Tchaikovsky is a condemned a bourgeois composer.

The first music we heard came from a cheap socialist era stereo, a blast of heavy metal to which a ripe young female appropriately gyrated. Fear and hope were equally mixed that this was the Tatiana. She was not, but was one of the seething swarm of inhabitants of a large communal apartment construed on the stage, leaving no doubt that therein existed a cosmos of human souls.

Emerging from this swarm were figures who gracefully appeared and disappeared, the characters we know by Pushkin’s names who moved in and out of the kitchen, the bedrooms, TV salon, bathroom, (spaces cleverly defined with minimal doorway lines and furniture) with beguiling naturalness and an ease that was purely musical.

There was one resident with a digital camera, a voyeur who surreptitiously captured young women in the a vista shower (we saw silhouette against the shower curtain). Innocent and charming, except we see him follow Olga as she pursues and then seduces Onegin while Tatiana is writing her letter. This spied upon scene took place on a slightly elevated platform behind the apartment floor, a place that served throughout the evening as somewhere else.

You get the picture. Filippievna did a lively dance to the famous Russian gypsy song “Dark Eyes” while listening to the radio before Tatiana’s birthday party where Lenski got jealous. The digital camera with its stored images got passed around. There was no way to stop a session of Russian roulette.

Onegin_Montpellier2OT.png Dina Kuznetsova as Tatiana, Olga Tichina as Filippievna. Photo Marc Ginot / Opéra national de Montpellier

It is indeed a digital world that allows quick and easy recording and transmission of images and scenes of life around us, from all angles and in duplication and repetition. Here digital technology was used to add additional perspectives to what we could see from our seats. Intimate scenes were magnified onto the huge blank stage backdrop, the apartment as seen from above was projected onto the huge screen echoing what we could see from our seats, etc. These were direct dramatic motivations for use of multimedia and the achievement of rare theatrical integrity for the use of such technology.

As a theater piece, really a theatrical installation based on Eugene Onegin it was conceptually elegant, masterfully directed, wonderfully witty and charmingly successful. While it may have been at cultural odds with the richly romantic voice of Pushkin it was easily comfortable with the broad and absolutely obvious emotional climate of Tchaikovsky’s genius if not this composer’s nineteenth century tonalities.

The separation of the mise en scéne from its sources was complicated by a separation of the pit and the stage. Tchaikovsky’s score was elegantly realized by Finnish conductor Ari Rasilainen and Montpellier’s fine Orchestre national. It was a symphonic reading, the conductor pulling every possible nuance and depth of tone from his instruments, and carefully pacing the flow to exploit his players’ musicality.

While the maestro did cue the entrances of the voices he did not visually or musically communicate with the stage in any other way. Left on their own the singers responded to secure, sturdy tempos but were bereft of the supercharged emotional thrust that makes Onegin (or any Tchaikovsky opera) a huge and immediate emotional experience. Perhaps this distant music actually served the production, reinforcing the blatant separation of source from its translation, Pushkin from Putin, poetry from TV drama, and finally separating high nineteenth century art from what was high twenty-first century art.

There were many grand moments created by a superb cast, and not least by the Onegin of American baritone Lucas Meachem as a souless man, a man who did not know who or what he is. Mr. Meachem was unable to sustain a singing tone nor could he find the tonalities of the Russian language. Mr. Meachem however brought a physicality to Onegin that was quite involving and finally moving. Sad to say he was not given the final bow, he is after all the name of the opera.

Onegin_Montpellier3OT.png Act II Country Ball. Photo Marc Ginot / Opéra national de Montpellier

Tatiana was Russian born soprano Dina Kuznetsova, alumna of the young artist program at Lyric Opera of Chicago, who wrote her letter moving between the kitchen table and the window of her room (metal lines directly frontal onto the audience, i.e. in your face), the brilliant light of the opened refrigerator flooding the darkened kitchen at an appropriate textural moment. Mlle. Kuznetsova possesses a round, Slavic toned voice she used with dramatic knowledge and style, unable however to squarely hit the high note at the ends of her letter and her final duet with Onegin.

Olga was enacted by French mezzo soprano Anna Destraël in a performance that was so real it was unnerving. Olga, a slut, was visibly bored by Lenski though she was happy to go to bed with him (we saw this in the ferment of life in the communal apartment), her seduction, quasi rape of Onegin showed real animal determination, her slight response to Lenski’s jealosy was of a shallow adolescent. It was a powerful performance that went well beyond good singing. It did not endear her to the audience.

Bespectacled Lenski was sung by Turkmenistan tenor Dovlet Nurgeldiyev, his spectacles crushed on the floor by Onegin he sang his “Kuda, kuda vï udalilis” emotionally groping his way across the stage as a pathetic rather than a sympathetic, sometimes tragic figure. Beautifully sung it earned the evening’s biggest ovation.

Simply superb were the two aging Russian women, proto petite bourgeoise, Larina sung by Svetlana Lifar and Filippievna sung by Olga Tichina. Russian bass Mischa Schelomianski oiled his way across the stage as an oligarch, the Prince Gremin. His surveillance cameras caught the Onegin Tatiana duet in eight identical images he sees from his armchair — ironically Tatiana’s new life as transparent as her past life.

All the scenes of acts I and II were run together. After the intermission four homeless looking dancers shoved a homeless looking Onegin around the stage to the music of the first polonaise. The second polonaise at a nouveau riche cocktail party brought the Opéra’s fine chorus into in a moving circle, their clicking heels forcing the Tchaikovsky polonaise to a halt. It was a moment of powerful dramatic punctuation that underlined the wonderfully theatrical nature of this fine evening at the opera (of which this account is but the tip of the iceberg).

Authors of this theatrical installation were Marie-Eve Signeyrole who imagined and created the mise en scène and her collaborators Yashi Tabassomi (costumes), Philippe Berthomé (lights), Julie Compans (movement) and Julien Meyer (audiovisual).

Michael Milenski


Cast and production information:

Onegin: Lucas Meachem; Tatiana: Dina Kuznetsova; Olga: Anna Destraël; Lenski: Doviet Nurgeldiyev; Prince Gremin: Mischa Schelomianski; Madame Larina: Svetlana Lifar; Filippievna: Olga Tichina; Monsieur Triquet: Loïc Félix; Zaretski: Laurent Sérou. Chorus and Orchestra of the Opéra Orchestre national Montpellier Languedoc-Roussillon. Conductor: Ari Rasilainen; Mise en scène and stage setting: Marie-Éve Signeyrole; Costumes: Yashi Tabossomi; Lighting: Philippe Berthomé. Opéra Berlioz, Montpellier. January 17, 2014.

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):