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

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.

Philip Glass’s The Trial

Music Theatre Wales presented the world premiere of Philip Glass’s The Trial (Kafka) last night at the Linbury, Royal Opera House. Music Theatre Wales started doing Glass in 1989. Their production of Glass’s In the Penal Colony in 2010 was such a success that Glass conceived The Trial specially for the company.

Joyce DiDonato: Alcina, Barbican, London

To say that the English Concert’s performance of Handel’s Alcina at the Barbican on 10 October 2014 was hotly anticipated would be an understatement. Sold out for weeks, the performance capitalised on the draw of its two principals Joyce DiDonato and Alice Coote and generated the sort of buzz which the work did at its premiere.

A New Don Giovanni and Anniversary at Lyric Opera of Chicago

Lyric Opera of Chicago opened its sixtieth anniversary season with a new production of Mozart’s Don Giovanni directed by Artistic Director of the Goodman Theater, Robert Falls.

Grande messe des morts, LSO

It was a little over two years ago that I heard Sir Colin Davis conduct the Berlioz Requiem in St Paul’s Cathedral; it was the last time I heard — or indeed saw — him conduct his beloved and loving London Symphony Orchestra.

Guillaume Tell, Welsh National Opera

Part of their Liberty or Death season along with Rossini’s Mose in Egitto and Bizet’s Carmen, Welsh National Opera performed David Pountney’s new production of Rossini’s Guillaume Tell (seen 4 October 2014).

Mose in Egitto, Welsh National Opera

Welsh National Opera’s production of Rossini’s Mose in Egitto was the second of two Rossini operas (the other is Guillaume Tell) performed in tandem for their autumn tour.

L’incoronazione di Poppea, Barbican Hall

In Monteverdi’s first Venetian opera, Il Ritorno d’Ulisse (1641), Penelope’s patient devotion as she waits for the return of her beloved Ulysses culminates in the triumph of love and faithfulness; in contrast, in L’incoronazione di Poppea it is the eponymous Queen’s lust, passion and ambition that prevail.

Rameau’s Les Paladins, Wigmore Hall

After the triumphs of love, the surprises: Les Paladins, under their director Jérôme Correas, and soprano Sandrine Piau are following their tour of material from their 2011 CD, ‘Le Triomphe de L’amour’, with a new amatory arrangement.

Puccini : The Girl of the Golden West, ENO London

At the ENO, Puccini's La fanciulla del West becomes The Girl of the Golden West. Hearing this opera in English instead of Italian has its advantages, While we can still hear the exotic, Italianate Madama Butterfly fantasies in the orchestra, in English, we're closer to the original pot-boiler melodrama. Madama Biutterfly is premier cru: The Girl of the Golden West veers closer, at times, to hokum. The new ENO production gets round the implausibility of the plot by engaging with its natural innocence.

Anna Caterina Antonacci, Wigmore Hall, London

Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.

Il barbiere di Siviglia, Royal Opera

Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.

Gluck and Bertoni at Bampton

Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.

Purcell: A Retrospective

Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.

Mahler: Symphony no.3 — Prom 73

It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’

Los Angeles Opera Opens with La traviata

On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.

Stars of Lyric Opera at Millennium Park, 2014

In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.

Susannah in San Francisco

Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.

OPERA TODAY ARCHIVES »

Performances

Irene Theorin as Turnadot [Photo © ROH / Tristram Kenton]
24 Feb 2014

Turandot, Royal Opera

This was in almost every respect an excellent performance — which therefore exacerbates the problem lying at the heart, or whatever it is that lies in its place, of the work itself.

Turandot, Royal Opera

A review by Mark Berry

Above: Irene Theorin as Turnadot

Photos © ROH / Tristram Kenton

 

The field may be fiercely contested, and I should hesitate to award first place to any one contender, but is there a more brazenly offensive opera to modern sensibilities than Turandot? Its racism and misogyny are far from unique, though they are experienced here in a form so extreme that even the dullest of listeners could hardly fail to notice them. The particular offensiveness goes far beyond that, however. Michael Tanner, writing in The Spectator upon this production’s previous outing of the season, went so far as to describe it as ‘an irredeemable work, a terrible end to a career that had included three indisputable masterpieces and three less evident ones, counting Il Trittico as one.’ The real problem is the plot itself. Again to quote Tanner, only summarizing what happens yet in reality twisting the knife by having the plot speak for itself, ‘once Liù has killed herself because she can’t stand any more pain, Calaf forgets about her, and about his frail old father Timur who just disappears, and turns all his attention on Turandot.’ It is repellent, and it is well-nigh impossible to imagine someone possessed of a smidgeon of humanity feeling otherwise.

And yet, its repellent quality fascinates, on account of Puccini’s manipulative genius. There is nothing beneath the surface, but what a surface! What Tanner rightly condemns as a ‘void’ draws one in to its nothingness and achieves if not nihilistic intent then certainly representation and experience of the work’s nihilistic essence. It is not entirely different from much Strauss in that respect, though the sadism is Puccini’s own: how he revels once again in the torture as much as the vile sacrifice itself! A ‘successful’ performance is therefore a problematical concept indeed. Should the work simply be portrayed for what it is? Or should it be confronted, questioned, in some sense ‘dealt with’?

Turandot-14-02-14-ROH-89.gifAlfred Kim as Calaf, Matthew Rose as Timur and Ailyn Perez as Liù

The Royal Opera opted for the former, at least in terms of the umpteenth revival of Andrei Serban’s production, first seen in 1984. Andrew Sinclair’s revival direction seemed tighter than it had in September of last year, though I think that may have been in large part a matter of greater musical — in particular, orchestral — dynamism, sharpening the cruel edges of the work. Yes, there is something of an effort — which again, came across more strongly than last time around — to present the performance with the idea of ‘staging’ to the forefront. It comes perilously close to being lost, however, by the exuberant success of the execution, not least Kate Flatt’s choreography. ‘About staging’ turns into ‘mere staging’. Likewise the Orientalism of Sally Jacobs’s designs. Surely by 2014, we need to inject a measure of irony, or indeed violence. I had a nasty feeling that many of those in the audience wildly applauding had not so much as registered the attendant problems: an urgent need for any responsible new production.

The orchestra was on magnificent form throughout. Nicola Luisotti not only revelled in the score’s phantasmagorical harmonies and sonorities but also imparted a startling symphonic continuity not only to each act but to the work as a whole. Puccini’s surface and that void beneath could hardly have been more brilliantly — in more than one sense — evoked. This Puccini, quite rightly, sounded more than ever a brother of Strauss, not least in his twin descent from Wagner’s invention and disavowal of Wagner’s moral intent. Such made the echoes and/or presentiments of Schoenberg — not only the avant-gardism of Pierrot lunaire, but also the wondrous late Romanticism of Gurrelieder — sound all the more painful, given the strenuous moralism of the Austrian composer, as fervent an admirer of Puccini as Puccini was of him. Luisotti had done for the most part a decent job with Don Giovanni, but he was clearly more in his element here. If only the staging had questioned the work as the fine musical performance necessarily did.

Turandot-14-02-14-ROH-1082.gifDavid Butt Philip as Pang, Grant Doyle as Ping and Luis Gomes as Pong

Iréne Theorin did what she had to do in the truly repugnant title role. Steel and sheer vocal strength were allied to a subtler-than-usual command of dynamic contrast. Alfred Kim might have offered more in terms of subtlety, especially during that aria, which sounded too much like an aria, however much responsibility Puccini must also bear for that. But otherwise, his was a formidable, untiring performance. Liù once again fared very well in indeed in terms of casting, Ailyn Pérez offering a moving portrayal — again, may Puccini’s manipulations be cursed! — in which musical and dramatic imperatives were as one. There are greater opportunities for vocal shading, and of course for sympathy, than with the Princess; Perez undoubtedly took them all. Matthew Rose made for a noble Timur, whilst the unbearably irritating trio of Ping, Pong, and Pang received uncommonly excellent performances, again as laudable in stage as in musical terms, from Grant Doyle, David Butt Philip, and Luis Gomes. Renato Balsadonna’s chorus and extra chorus showed themselves the orchestra’s equals in excellence.

Wagner feared that excellent performances of Tristan would be his ruin; audiences would not be able to take them. In a very different sense, one might say the same of this ‘irredeemable’ work; at least unless a director has the courage more directly to confront its horrors.

Mark Berry


Cast and production information:

Mandarin: Ashley Riches; Liù: Ailyn Pérez; Timur: Matthew Rose; Calaf: Alfred Kim; Ping: Grant Doyle; Pang: David Butt Philip; Pong: Luis Gomes; Turandot: Iréne Theorin; Emperor Altoum: Alasdair Elliott; Soprano soli — Marianne Cotterill, Anne Osborne. Director: Andrei Serban; Andrew Sinclair (revival director); Sally Jacobs (designs); F. Mitchell Dana (lighting); Kate Flatt (choreography); Tatiana Novaes Coelho (choreologist). Royal Opera Chorus and Extra Chorus (chorus master: Renato Balsadonna)/Orchestra of the Royal Opera House/Nicola Luisotti (conductor). Royal Opera House, Covent Garden, London, Thursday 20 February 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):