24 Feb 2014
Carmen in Bilbao
Bilbao is always news, Calixto Bieito is always news, Carmen with a good cast is always news. So here is the news.
Ermonela Jaho is fast becoming a favourite of Covent Garden audiences, following her acclaimed appearances in the House as Mimì, Manon and Suor Angelica, and on the evidence of this terrific performance as Puccini’s Japanese ingénue, Cio-Cio-San, it’s easy to understand why. Taking the title role in the first of two casts for this fifth revival of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, Jaho was every inch the love-sick 15-year-old: innocent, fresh, vulnerable, her hope unfaltering, her heart unwavering.
Calliope Tsoupaki’s latest opera, Fortress Europe, premiered as spring began taming the winter storms in the Mediterranean.
To celebrate its 40th anniversary New Sussex Opera has set itself the challenge of bringing together the six scenes - sometimes described as six discrete ‘tone poems’ - which form Delius’s A Village Romeo and Juliet into a coherent musico-dramatic narrative.
Following highly successful UK premières of Salieri’s Falstaff (in 2003) and Trofonio’s Cave (2015), this summer Bampton Classical Opera will present the first UK performances since the late 18th century of arguably his most popular success: the bitter comedy of marital feuding, The School of Jealousy (La scuola de’ gelosi). The production will be designed and directed by Jeremy Gray and conducted by Anthony Kraus from Opera North. The English translation will be by Gilly French and Jeremy Gray. The cast includes Nathalie Chalkley (soprano), Thomas Herford (tenor) and five singers making their Bampton débuts:, Rhiannon Llewellyn (soprano), Kate Howden (mezzo-soprano), Alessandro Fisher (tenor), Matthew Sprange (baritone) and Samuel Pantcheff (baritone). Alessandro was the joint winner of the Kathleen Ferrier Competition 2016.
Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of Leoš Janàček’s 1921 domestic tragedy, and not entirely in a good way.
Applications are now open for the Bampton Classical Opera Young Singers’ Competition 2017. This biennial competition was first launched in 2013 to celebrate the company’s 20th birthday, and is aimed at identifying the finest emerging young opera singers currently working in the UK.
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
Handel’s Partenope (1730), written for his first season at the King’s Theatre, is a paradox: an anti-heroic opera seria. It recounts a fictional historic episode with a healthy dose of buffa humour as heroism is held up to ridicule. Musicologist Edward Dent suggested that there was something Shakespearean about Partenope - and with its complex (nonsensical?) inter-relationships, cross-dressing disguises and concluding double-wedding it certainly has a touch of Twelfth Night about it. But, while the ‘plot’ may seem inconsequential or superficial, Handel’s music, as ever, probes the profundities of human nature.
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
A skewering of the preening pretentiousness of the Pre-Raphaelites and Aesthetes of the late-nineteenth century, Gilbert and Sullivan’s 1881 operetta Patience outlives the fashion that fashioned it, and makes mincemeat of mincing dandies and divas, of whatever period, who value style over substance, art over life.
Irish mezzo-soprano Tara Erraught demonstrated a relaxed, easy manner and obvious enjoyment of both the music itself and its communication to the audience during this varied Rosenblatt Series concert at the Wigmore Hall. Erraught and her musical partners for the evening - clarinettist Ulrich Pluta and pianist James Baillieu - were equally adept at capturing both the fresh lyricism of the exchanges between voice and clarinet in the concert arias of the first half of the programme and clinching precise dramatic moods and moments in the operatic arias that followed the interval.
This Sunday the Metropolitan Opera will feature as part of the BBC Radio 3 documentary, Opera Across the Waves, in which critic and academic Flora Willson explores how opera is engaging new audiences. The 45-minute programme explores the roots of global opera broadcasting and how in particular, New York’s Metropolitan Opera became one of the most iconic and powerful producers of opera.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
Bilbao is always news, Calixto Bieito is always news, Carmen with a good cast is always news. So here is the news.
The Calixto Bieito Carmen is old news, this edition having already taken place in Barcelona, Venice and Torino, though a Bieito Carmen has been around on advanced European operatic stages since 1999. It was never headline news, finding instead this extraordinary stage director in a rather subdued state. Yes, there was fellatio, pissing, nudity, gang rape, child abuse and true brutality. Yes, Mercedes was Lilas Pastia’s middle-aged wife, and yes, Don Jose was really annoyed by an insistent Micaëla who sang her pretty song and then gave Carmen the “up-yours.”
Bieito creates a world that puts you on edge, here it was Spain with the cut-out bulls on the hilltops, gypsies in dilapidated cars, freaked out youth, blinding beaches and lurid tourism, and of course bull rings. But finally Bieito’s bull ring was only a chalk-line circle laid down by Lilas Pastia in which the raw power of Carmen’s indifference was pitted against the impotent supplications of Jose. Murdered, Jose dragged Carmen out of the circle — like a dead bull.
Movement is violent and often sudden in this and all Bieito worlds. There were very limited moments of dialogue but many additions of crowd noise and shouts, and punctuations of imposed silence broken by frenetic crowd clamor. The quintet was splendidly staged catching the lightening speed of the music in fast, demonstrative movement, and the trio was deadpan, the cards read on the hood of a car with no sense of doom, Carmen indifferent to her fate.
Act III. Escamillo in white shirt. Photo by E. Moreno Esquibel
There was no set. A simple cyclorama against which there was first a flag pole and a phone booth, then a car and a Christmas tree, then eight cars and a gigantic cut out bull and finally nothing except a beach with a marked out chalk ring.
All this might seem a recipe for a dynamite Carmen, but this does not seem to be Bieito’s intention. This tale of Jose’s infatuation disappeared into this cosmos of marginal life in Spain and became unimportant, its emotions melted into the morass of a much bigger and equally violent, emotionally raw world.
With some setbacks along the way Bilbao's Amigos de la Ópera managed a cast responsive to the needs of both Bizet and Bieito. The Carmen announced in the publicity was Sonia Ganassi who withdrew because of illness, young Italian mezzo Giuseppina Piunti came to replace her. However she could not do this second performance (of five) thus this performance fell to the cover Carmen. Ana Ibarra is a young Spanish artist, not a Carmen by nature or physique but a very fine singer, and with obviously limited rehearsal attention she still gave a quite credible performance, greatly appreciated by the audience.
Lilas Pastia marking bull ring circle and sunbather. Photo by E. Moreno Esquibel
Venezuelan tenor Aquiles Machado is in his vocal prime, and gave a beautifully sung performance. His Flower Song was the hit of the evening, the high notes squarely placed and exciting. Mr. Machado projects an affecting presence, and could perhaps be a moving Jose in a heated or even warmer production. Quick on his feet he was able to have a real looking knife fight with Escamillo, leaping from roof to roof of a line of cars. He was equaled in agility by seasoned Spanish baritone Carlos Alvaro! This esteemed singer brought a sharp Italianate edge to the role, making Escamillo a powerful and dangerous presence with real bullfighter voiced coglioni if not with physique or stance.
Micaëla was sung by Valencia born soprano Maite Alberola who brought a brightness of voice that has made her a fine traviata though she did not move with a natural agility in the wonderfully tacky clothing that was her costume. With the resources of a traviata voice (a brilliant top and a warm middle voice) she found unusual and very welcome vocal excitement in her aria.
French maestro Jean Yves Ossonce provided a generally idiomatic reading, giving the principals solid understanding for their arias — a faster than usual “Je dis,” a louder than usual "La fleur que tu m'avais jetée," as examples. The quintet was masterfully held together and the big chorus scenes were unleashed with sonic abandon — the Euskadiko Orkestra Sinfonikoa gave it their all.
The support roles — Frasquita, Mercedes, Remendado, Dancairo, Zuniga and Morales — were of proper age, voice, and experience (i.e. gratefully not pieced together from a young artist program). The Mercedes of Basque mezzo Itxaro Mentxaka was especially interesting as the middle aged wife of Lilas Pastia, the Zuniga of Italian Federico Sacchi stood out as a real sleaze, his brutally murdered body an unforgettable image.
Bilbao is about architecture, as you know. There is an old (nineteenth century), imposing opera house said to be an imitation of Paris’ Garnier that is no longer used. The Asociación Bilbaina de Amigos de la Ópera now produces its operas in the theater of the Palacio Euskalduna, Bilbao’s conference center that opened in 1999. Designed by architects Federico Soriano and Dolores Palacios it is supposed to be like a vessel permanently under construction (it stands on a dock of the former Euskalduna Shipyard). It received the 2001 Enric Miralles award at the 6th Biennial of Spanish Architecture.
However striking the architecture may be, and the public areas are of interest if a bit hard to navigate, the hall itself reveals the lack of interest architects in general seem to have for opera. If these two architects had ever been to an opera they would know that an auditorium is a dark place to sit while you observe a performance, that no prime seating space should be sacrificed to some questionable geometric design whims, that every seat should be as close as possible to the stage (the upper reaches of this theater are unbelievably remote), and finally, actually first of all, that the sound in the hall is of utmost importance (the cavernous depths of this theater create a hollow “cavernous” sound).
Ignoring these completely obvious requirements for the auditorium one can only imagine the ignorance these architects will have exercised in designing the stage (here too wide), wings and dressing rooms. Is there no prize for bad theater architecture. There is a stupendous amount of it worldwide that could compete for being the absolute stupidest.
Casts and production information:
Carmen: Ana Ibarra; Don José: Aquiles Machado; Escamillo: Carlos Álvarez; Micaëla: Maite Alberola; Mercedes: Itxaro Mentxaka; Frasquita: Elena Sancho Pereg; Le Remendado: Vicenç Esteve; Le Dancaïre: Damián del Castillo; Zuniga: Federico Sacchi; Moralès: Giovanni Guagliardo; Lilas Pastia (actor): Abdelazir El Mountassir. Euskadiko Orkestra Sinfonikoa, Coro de Opera de Bilbao. Conductor: Jean Yves Ossonce; Mise en scène: Calixto Bieito; Scenery: Alfons Flores; Costumes: Mercé Paloma; Lighting: Alberto Rodriguez. Palacio Euskalduna, Bilbao, February 18, 2014.