05 Feb 2014
Coeur de Chien aka A Dog's Life in Lyon
If satire is your thing you will not want to miss this opera about human testicles grafted onto a dog.
Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.
On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman theatre of Aspendos near Antalya in southern Turkey is not an arena or amphitheatre at all, so there are not nearly as many ghosts of gored gladiators or dismembered Christians to disturb the contemporary feng shui as in other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014 by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings
On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!
At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.
This elegant, smartly-paced film turns Gluck’s Orfeo into a Dostoevskian study of a guilt-wracked misanthrope, portrayed by American countertenor Bejun Mehta.
Ossia Il barbiere di Siviglia. Why waste a good tune.
In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.
Both by default and by merit Il barbiere di Siviglia is the hit of the thirty-fifth Rossini Opera Festival. But did anyone really want, and did the world really need yet another production of this old warhorse?
Armida (1817) is the third of Rossini’s nine operas for the Teatro San Carlo in Naples, all serious. The first was Elisabetta, regina di Inghilterra (1815), the second was Otello (1816), the last was Zelmira (1822).
If satire is your thing you will not want to miss this opera about human testicles grafted onto a dog.
Coeur de Chien was a commission of the Holland Festival, premiered in 2010, and since has found clamorous arrivals in 2011 at the English National Opera as A Dog’s Heart, and in 2012 at La Scala as Cuore di cane. Its real title is Собачье сердце because it is sung in Russian (though the libretto by Cesare Mazzonis was written first in Italian). It is based on a 1924 novel by Mikhail Boulgakov that was finally published in Russia in 1987.
The composer, Alexander Raskatov, now 60 years-old, was a Soviet citizen and a member of the Union of Soviet Composers. He is now a member of the Composers’ Union of Russia though these days he lives in France. His only other opera, The Pit and the Pendulum was composed in 1990.
This satire is about life in Moscow in the years just after the 1917 revolutions. It has absolutely no point of view and makes no judgements. Those were heady years when the intelligentsia, apparatchiks, commoners (the proletariat) and dogs were adjusting into the greatest social experiment of modern times, maybe ever. It was a mess all around, though according to this opera none of the various players ever lost their basic humanity (vanity, cupidity, duplicity) or their considerable personal charm. It was a beguiling evening.
Coeur de Chien is an important opera that deserves to enter the repertory and certainly will depending on who has the guts to tackle its difficulties. The Holland Festival gave it an auspicious debut engaging director Simon McBurney of London’s Complicite, a theatrical venture founded in 1983 that is famous for its tackling of serious subjects using high-powered technology, and by engaging British designer, veteran-of-all-important-theaters Michael Levine to design the set (Levine is known most recently to San Francisco and Met audiences for his spectacular twenty-five year-old Mefistofele).
Bouboule (dog), Voice of dog (w/megaphone) and other voice of dog (behind), handlers of dog. Photo copyright Stofleth
On the face of it, it is not exactly a serious subject given that all players are reduced to their most vulgar levels and stay there. That leaves us not much to think about. There was little high technology in its realization given the set was but a raked platform and a back wall and a few projections. The famished dog was a marionette with four manual operators — no high tech there.
Raskatov made vulgar music (snorts and farts) and he made music vulgar incorporating liturgical hymns and famous old folk songs into the musical flow of his sensational text (the last line of the first act, shouted by the dog transformed into Communism's “new man” is “get fucked!” in the libretto, and “lick my dick” in the supertitles). The composer recognizes that contemporary ears are accustomed to an infinity of musical and random sounds thus he has no compunction in raiding Monteverdi’s recitative, using extreme voices (shrieking higher-than-you-can-imagine sopranos) or making hoarse, coarse sounds through megaphones (the opera ends with sixteen players shouting vowels through megaphones into the faces of the audience. Underlying all this is Raskatov’s basic musical language heard from time to time which seemed to be more or less Webernesquely minimal.
Sergei Leiferkus as the professer, members of Il Canto di Orfeo as provocateurs. Photo copyright Stofleth
This unleashed musical vocabulary was transferred onto the stage in an equally blatant vocabulary. There were two sets, outdoors and indoors that were the one set (floor and wall), black for outdoors where some scrims and projections created a raging blizzard without needing even a single plastic snowflake. When lighted the set was patterned to be a rug and wallpaper surrounding a big doorway. The floor ran with gallons of blood when it became the operating room for the castration and implant. When things really fell apart in the second act the wall itself (made of paper we learned) was smashed for entries and exits, then the wall tilted backwards letting players move under it. One arm of the enormous three armed chandelier that flew in to make the space a salon broke and dangled. Period.
The players movements were sometimes more or less natural, in fact the man/dog Charikov was even quite realistic when you imagine surreally how such a creature might move and what gestures he might make. Other times movement was abstracted, and in extreme moments it was caricatured like figures in a comic strip equating in body rhythm the constant disjointed flow of the vocal line.
The original production in Amsterdam was conducted by Martyn Brabbins as it was in Lyon. The principals of the original cast remained intact except the role of Charikov here played by Peter Hoare who came to the production at La Scala. These were all extraordinary performances, and how else could they have been for such extraordinary roles. The smaller roles in Lyon were impeccably inhabited by appropriate artists as well.
It was quite noticeable that the audience was not the usual Lyon bourgeoise but instead mostly an under thirty contingent (meaning invited), and there were a few empty seats in the back of the auditorium, the assumption being that there was no huge demand for seats. There was however a huge ovation for the production, the kind young audiences like to give when finally they too get to do something.
After the Milan performances there were rumors that the production would tour to the United States. But sad to say there can be no opera company in the U.S. that would risk the vocabulary or manage the budget. It should have been the purview of an idealized version of the latter day New York City Opera. Sadly such an opera company does not now exist.
N.B. There are extracts from Coeur de Chien aka A Dog’s Heart aka Cuore di cane on YouTube.
Casts and production information:
Filipp Filippovitch Preobrajenski: Sergei Leiferkus; Ivan Arnoldovitch Bormenthal: Ville Rusanen; Charikov: Peter Hoare; Daria Petrovna: Elena Vassilieva; Voice of Dog: Andrew Watts; Zina: Nancy Allen Lundy; Un Provocateur: Robert Wörle; Une patiente: Annett Andriesen; Fiancée de Charikov: Sophie Desmars; Schwonder: Vasily Efimov; Un détective: Piotr Micinski; Un Chef haut placé: Gennady Bezzubenkov. Orchestre de l'Opéra de Lyon; Ensemble vocal “Il Canto di Orfeo.“ Conductor: Martyn Brabbins; Mise en scène: Simon McBurney; Scenery: Michael Levine; Costumes: Christina Cunningham; Lumières: Paul Anderson; Vidéo: Finn Ross; Marionnettes: Blind Summit Theatre. L’Opéra Nouvel, Lyon, January 30, 2014.