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.
Opera Philadelphia deserves congratulations on yet another coup. The company co-commissioned Cold Mountain, an opera by Jennifer Higdon based on Gene Scheer’s adaptation of Charles Frazier’s celebrated Civil War epic.
For their first of two recitals at the Wigmore Hall, Christian Gerhaher and Gerold Huber devised an interesting programme - popular Schubert mixed with songs by Wolfgang Rihm and by Huber himself.
There are not many opera productions that you would cross oceans to see. Graham Vick’s Götterdämmerung in Sicily however compelled such a voyage.
Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.
Robert Ashley’s opera-novel Quicksand makes for a novel experience
One of the leading Russian composers of his generation, Alexander Raskatov’s reputation in the UK and western Europe derives from several, recent large-scale compositions, such as his reconstruction of Alfred Schnittke’s Ninth Symphony from a barely legible manuscript (the work was first performed in 2007 in the Dresden Frauenkirche by the Dresden Philharmonic under Dennis Russell Davies), and his 2010 opera A Dog’s Heart, based on Mikhail Bulgakov’s satire (which was directed by Simon McBurney at English National Opera in 2010, following the opera’s premiere at Netherlands Opera earlier that year).
I’m not sure that St John’s Smith Square was the most appropriate venue for Opera Danube’s latest production: Jacques Offenbach’s satirical frolic, Orpheus in the Underworld.
This nasty little opera evening in Lyon lived up to the opera’s initial reputation as pure pornophony. This is the erotic Shostakovich of the D minor cello sonata, it is the sarcastic and complicated Shostakovich of The Nose . . .
During December 2015 and presently in January Lyric Opera of Chicago has featured the world premiere of the opera Bel Canto, with music by Jimmy López and libretto by Nilo Cruz, based on the novel by Ann Patchett.
Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.
The title role is a deciding factor in Madama Butterfly. Despite a last-minute conductor cancellation, last Saturday’s concert performance at the Concertgebouw was a resounding success, thanks to Lianna Haroutounian’s opulent, heart-stealing Cio-Cio-San.
With this performance of vocal and instrumental works composed by the 10-year-old Mozart and his contemporaries during 1766, Classical Opera entered the second year of their 27-year project, MOZART 250, which is designed to ‘contextualise the development and influences of [sic] the composer’s artistic personality’ and, more audaciously, to ‘follow the path that subsequently led to some of the greatest cornerstones of our civilisation’.
Luca Pisaroni and Wolfram Rieger were due to give the latest installment in the Wigmore Hall's complete Schubert songs series, but both had to cancel at short notice. Fortunately, the Wigmore Hall rises to such contingencies, and gave us Benjamin Appl and Jonathan Ware. Since there's a huge buzz about Appl, this was an opportunity to hear more of what he can do.
The phrase ‘Sunday afternoon concert’ may suggest light, post-prandial entertainment, but soprano Gemma Lois Summerfield and her accompanist, Simon Lepper, swept away any such conceptions in this demanding programme at St. John’s Smith Square.
When, o when, will someone put Peter Sellars and his compendium of clichés out of our misery?
This recording, made in the Adrian Boult Hall at the Birmingham Conservatoire of Music in June 2014, is the fourth disc in SOMM’s series of recordings with Paul Spicer and the Birmingham Conservatoire Chamber Choir.
Having recently followed some by-ways through the music of Purcell, Monteverdi and Cavalli, L’Arpeggiata turned the spotlight on traditional folk music in this characteristically vibrant and high-spirited performance at the Wigmore Hall.
Edward Gardner brought all his experience as a choral and opera conductor to bear in this stirring performance of Michael Tippett’s A Child of Our Time at the Barbican Hall, with a fine cast of soloists, the BBC Symphony Orchestra and BBC Symphony Chorus.
‘Apt for voices or viols’: eager to maximise sales among the domestic market in Elizabethan England, publishers emphasised that the music contained in collections such as Thomas Morley’s First Book of Madrigals to Four Voices of 1594 was suitable for performance by any combination of singers and players.
It was a single title but a double bill and there was far more happening than Gordon Getty and Claude Debussy. Starting with Edgar Allen Poe.
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.