Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Modernity vanquished? Verdi Un ballo in maschera, Royal Opera House, London

Verdi Un ballo in maschera at the Royal Opera House - a masked ball in every sense, where nothing is quite what it seems. On the surface, this new production appears quaint and undemanding. It uses painted flats, for example, pulled back and forth across, as in toy theatre. The scenes painted on them are vaguely generic, depicting neither Boston nor Stockholm, where the tale supposedly takes place. Instead, we focus on Verdi, and on theatre practices of the past. In other words, opera as the art of illusion, not an attempt to replicate reality. Take this production too literally and you'll miss the wit and intelligence behind it.

La Traviata in Ljubljana Slovenia

Small country, small opera house — big ensemble spirit. Internationally acclaimed soprano Natalia Ushakova steps in for indisposed local Violetta with mixed results.

Otello in Bucharest — Moor’s the pity

Bulgarian director Vera Nemirova’s production of Otello for the Romanian National Opera in Bucharest was certainly full of new ideas — unfortunately all bad.

Il trovatore at Lyric Opera of Chicago

For its current revival of the 2006-2007 production of Giuseppe Verdi’s Il trovatore by Sir David McVicar Lyric Opera has assembled a talented quintet of principal singers whose strengths match this conception of the opera.

Mary, Queen of Heaven, Wigmore Hall

O Maria Deo grata — ‘O Mary, pleasing to God’: so begins Robert Fayrfax’s antiphon, one of several supplications to the Virgin Mary presented in this thought-provoking concert by The Cardinall’s Musick at the Wigmore Hall.

Analyzed not demonized — Tristan und Isolde, Royal Opera House

Wagner’s Tristan und Isolde at the Royal Opera House, first revival of the 2009 production, one of the first to attract widespread hostility even before the curtain rose on the first night.

Florencia in el Amazonas Makes Triumphant Return to LA

On November 22, 2014, Los Angeles Opera staged Francesca Zambello’s updated version of Florencia in el Amazonas.

John Adams: The Gospel According to the Other Mary

John Adams and his long-standing collaborator Peter Sellars have described The Gospel According to the Other Mary as a ‘Passion oratorio’.

A new Yevgeny Onegin in Zagreb — Prince Gremin’s Fabulous Pool Party

Superb conducting from veteran Croatian maestro Nikša Bareza makes up for an absurd waterlogged new production of Tchaikovsky’s masterpiece.

Nabucco in Novi Sad

After the horrors of Jagoš Marković’s production of Le Nozze di Figaro in Belgrade, I was apprehensive lest Nabucco in Serbia’s second city of Novi Sad on 27th October would be transplanted from 6th century BC Babylon to post-Saddam Hussein Tikrit or some bombed-out kibbutz in Beersheba.

La Bohème in San Francisco

First Toronto, then Houston and now San Francisco, the third stop of a new production of Puccini's La bohème by Canadian born, British nurtured theater director John Caird.

Radvanovsky Sings Recital in Los Angeles

Every once in a while Los Angeles Opera presents an important recital in the three thousand seat Dorothy Chandler Pavilion.

L’elisir d’amore, Royal Opera

This third revival of Laurent Pelly’s production of Donizetti’s L’elisir d’amore needed a bit of a pep up to get moving but once it had been given a shot of ‘medicinal’ tincture things spiced up nicely.

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.

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.

OPERA TODAY ARCHIVES »

Performances

John Osborn as Hoffmann [Photo © Jean-Pierre Maurin]
07 Jan 2014

Les Contes d'Hoffmann in Lyon

Maybe there can be no bigger feat than making it through Les Contes d’Hoffmann in the Laurent Pelly version without a hitch or two.

Les Contes d'Hoffmann in Lyon

A review by Michael Milenski

Above: John Osborn as Hoffmann [Photo © Jean-Pierre Maurin]

 

There were in fact two just now in the Opéra de Lyon remounting of its 2005 production of Hoffmann, both collective hitches.

Not only has Mr. Pelly created a figurative nightmare, he has created a technical nightmare as well. The usual four sets — the tavern, the workshop, the bedroom, the salon — morph into thirty or forty or so scenes, a seemingly countless progression of scenic moments that evolve through the unfolding of Hoffmann’s narration in dream form. And the dream is a bad one in which the macabre surreal is suspended in abstract, dark space.

The Pelly concept is complex indeed. Not for a moment does Pelly allow us to forget that human motivations push the bizarre psychological and philosophical impulses of E.T.A. Hoffmann’s morbid tales. He accomplishes this by making us watch smart, strong stagehands push and pull walls and platforms and operate machines that transport Pelly’s phantoms through the dream world he has created for Offenbach’s opera.

Hoffmann_Lyon1_OT.png John Osborn as Hoffmann, Patrizia Ciofi as Olimpia. Photo © Jean-Pierre Maurin

Offenbach never lets up on his teasing of the world of art — E.T.A. Hoffmann was a poet, Offenbach’s Hoffmann is a poet and singer, Stella is a singer, etc. Pelly and his brilliant scenographer Chantal Thomas have created a production that is continuous creation, and like the roles of Hoffmann and Stella in all her transfigurations — roles that demand great virtuosity and superhuman strength — their production teases the art of stagecraft by teetering it on the edge of what mechanical stagecraft can possibly achieve.

The efforts of mind and muscle expended to operate its scenic mechanism are enormous, and amazingly and precisely timed to messieurs Offenbach and Hoffmann. But in a real dream all this movement would seem effortless, even magical. It did not quite work that way just now in Lyon — there were occasional thumps, pounding now and again, walls chasing singers, platforms that jerked their way across the stage. The production simply does not sit comfortably within the confines of architect Jean Nouvel’s theater.

But you can imagine that when this production does move effortlessly it easily becomes the star of the show. The production was reborn last year in Barcelona and San Francisco before returning now to Lyon. In San Francisco it achieved, more or less, the smoothness of a dream (though there were still technical glitches) and it was in fact the star of the show. However the star was supposed to be Natalie Dessay who finally sang only Antonia (appropriately and ironically the iconic French diva announced her retirement from the opera stage after the second performance).

Of course the name of the opera is Hoffmann thus the star of the show should be Hoffmann. In fact in Lyon American tenor John Osborn achieves the artistic stature to fulfill the demands of Laurent Pelly’s concept, and hold the stage vocally and histrionically through this monumental competition. Mr. Osborn is a very physical performer, a real actor and a beautifully voiced, finished singer. Vocally he is a tenore leggero allowing him to negotiate the role’s high tessitura with ease, maybe even interpolate a few high notes for added effect. At the end however when we expect the pathos of an emotionally and vocally exhausted Hoffmann Mr. Osborn sounded like he could take it from the top all over again.

The Pelly production begins with Stella alone onstage singing Mozart's “Non mi dir” from Don Giovanni. It was Italian diva Patrizia Ciofi, an esteemed artist who quite resembles Natalie Dessay, in what seems to be her role debut as Stella. It was easy to forgive this bit of wobbly Mozart, harder to forgive the wooden tones of Olimpia with truncated high notes, painful to hear the hoarse sounds of her lower voice as Antonia, and irritating to perceive her struggling tiredness as Giulietta. Though dramaturgically Offenbach’s Tales may beg a single opera star to fulfill an impossible array of voices, this example vindicates casting three different singers who can compete vocally with Hoffmann himself, not to mention a conceptually demanding production.

Hoffmann_Lyon3_OT.pngLaurant Alvaro as Dr. Miracle. Photo © Jean-Pierre Maurin

French bass-baritone Laurent Alvaro made big voiced, sinister villains, moving through the roles with force and aplomb though he does not exude a vocal, musical or histrionic refinement that rises to the sophistication of the Pelly production. The same may be said of young Cyrille Dubois as the four servants. Belgian mezzo-soprano Angélique Noldus was over-parted as Nicklausse, neither her voice nor her persona able to cross over the pit into the auditorium. The roles of Luther and Crespel were clumsily executed by British baritone Peter Sidhom.

Offenbach’s score is one of opera’s most engaging masterpieces. But even the pit could not save this performance. This sixth performance (of eight) was conducted by Philippe Forget (Kazushi Ono conducted the first four). This young French maestro conducts minor projects at the Opéra de Lyon and elsewhere. While the Lyon orchestra ably fulfilled its role and the maestro and singers were comfortable with one another, the wit, power and pathos of the score were sorely lacking. Perhaps the young maestro was unnerved by the roughness of the production and its singers.

Michael Milenski

For additional perspective on this production please see Les Contes d’Hoffmann in San Francisco


Casts and production information:

Hoffmann: John Osborn; Lindorf/Coppelius/Docteur Miracle/Dapertutto: Laurent Alvaro; Olympia/Antonia/Giulietta/Stella: Patrizia Ciofi; Muse/Nicklausse: Angélique Noldus; Andrès/Cochenille/Frantz/Pitichinaccio: Cyrille Dubois; Hermann/Peter Schlemil: Christophe Gay; Nathanaël/Spalanzani: Carl Ghazarossian. Chorus and Orchestra of the Opéra de Lyon. Conductor: Philippe Forget. Mise en scène and costumes: Laurent Pelly; Scenery: Chantal Thomas; Lighting: Joël Adam. Opéra Nouvel de Lyon. December 26, 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):