08 May 2014
Amsterdam: Arabella’s New Water in Old Glasses
What a difference a venue and a cast can make!
This may be the twelfth revival of Jonathan Miller’s 1987production of Rossini’s The Barber of Seville for English National Opera, but the ready laughter from the auditorium and the fresh musical and dramatic responses from the stage suggest that it will continue to amuse audiences and serve the house well for some time to come.
The third and final instalment of the Academy of Ancient Music’s survey of Monteverdi’s operas at the Barbican began and ended in darkness; the red glow of the single candle was an apt visual frame for a performance which was dedicated to the memory of the late Andrew Porter, the music critic and writer whose learned, pertinent and eloquent words did so much to restore Monteverdi, Cavalli and other neglected music-dramatists to the operatic stage.
English Touring Opera’s recent programming has been ambitious and inventive, and the results have been rewarding. We had two little-known Donizetti operas, The Siege of Calais and The Wild Man of the West Indies, in spring 2015, while autumn 2014 saw the company stage comedy by Haydn (Il mondo della luna) and romantic history by Handel (Ottone).
LA Opera got its season off to an auspicious beginning with starry revivals of Gianni Schicchi and Pagliacci.
On September 9, 2015, Opera Las Vegas presented James Sohre’s production of Viva Verdi at the Smith Center’s Cabaret Jazz. It was a delightful evening of arias, duets and ensembles by Giuseppe Verdi (1813-1901). The program included many of the composer’s blockbuster arias and scenes from famous operas such as Aida, La traviata, and Macbeth.
On Saturday, September 19, San Diego Opera opened its 2015-2016 season with a recital by tenor René Barbera. This was the first Polly Puterbaugh Emerging Artist Award Recital and no artist could have been more deserving than the immensely talented Barbera.
Did the iconic “off-beat” and “serious” American musical hold the stage of the War Memorial Opera House? The excited audience (standees three deep) thought so and roared their appreciation.
The Wigmore Hall, London, has launched Schubert : The Complete Songs, a 40-concert series to run through the 2015 and 2016 seasons. There have been Schubert marathons before, like BBC Radio 3's all-Schubert week and The Oxford Lieder Festival's Schubert series last year, but the Wigmore Hall series will be a major landmark because the Wigmore Hall is the Wigmore Hall, the epitome of excellence.
Luisa Miller sits on the fringes of the repertory, and since its introduction into the modern repertory in the 1970’s it comes around every 15 or so years. Unfortunately this 2015 San Francisco occasion has not bothered to rethink this remarkable opera.
Demonised by Pushkin and Peter Shaffer, Antonio Salieri lives in the public imagination as the embittered rival of Wolfgang Amadeus Mozart — whose genius he lamented and revered in equal measure, and against whom he schemed and plotted at the Emperor Joseph II’s Viennese court.
The annual concert given by Lyric Opera of Chicago as an outdoor event previewing the forthcoming season took place on 11 September 2015 at Millennium Park.
Orpheus — that Greek hero whose songs could enchant both deities and beasts, whose lyre has become a metaphor for the power of music itself, and whose journey to the Underworld to rescue his wife, Eurydice, kick-started the art of opera in Mantua in 1607 — has been travelling far and wide around the UK in 2015.
One is a quasi-verbatim rendering of J.M. Synge’s bleak tale of a Donegal family’s fateful dependency on and submission to the deathly power of the sea.
Is there anything that countertenor Iestyn Davies cannot do with his voice?
BBC Proms Youth Choir shines in a performance notable for its magical transparency
The John Wilson Orchestra have been annual summer visitors to the Royal Albert Hall since their Proms debut in 2009 and, with their seductive blend of technical precision, buoyant glitziness and relaxed insouciance, their concerts have become a hugely anticipated fixture and a sure highlight of the Promenade season.
Disappointing staging mars Alice Coote’s vibrant if wayward musical performance
Impresario Boris Goldovsky famously referred to La finta giardiniera as The Phony Farmerette.
At Santa Fe Opera, Donizetti’s effervescent The Daughter of the Regiment can’t quite decide what it wants to be when it grows up.
Santa Fe Opera noted a landmark two-thousandth performance in their distinguished history with a stylish new production of Rigoletto.
What a difference a venue and a cast can make!
As a shared production, I confess I had been under-whelmed by this staging of Arabella in another (major) theatre, but it took the Netherlands Opera to make a believer out of me that the concept indeed had something substantial to offer. Herbert Murauer’s white box of a playing space that seemed so limiting before, looked expansive and intriguing on the wide stage in the broad auditorium of Het Muziektheater.
Here it functioned beautifully as a blank page with shifting panels upstage that slipped and slid to reveal selected shallow portions of a hotel room that has seen better days, devoid of most furniture except a straight back chair here and there. Mr. Murauer has accessorized the deglamorized quarters tellingly with a lamp on the floor in search of its table, and improvised black ‘curtains’ covering the windows in a desperate attempt to maintain some privacy from judgmental eyes.
The peek-a-boo panels that had seemed so contrived before, now seemed invaluable in framing the action and emotional content, adding a layer to sub-text, and actually helping to define character relationships. Every movement of the panels caused anticipation akin to opening another box on an Advent calendar. Behind this backline of panels , the hotel room did some linear slipping and sliding of its own, at once unsettling and fascniating. At one time the living room was center stage, the next it was far to the right, having sidled to draw Arabella’s denuded bedroom into view. I have to say, that whatever my first impression may have been, this use of the dis-orienting reveals proved perfectly in service to the drama, even enhancing the slender plot.
Act II’s party scene in the ante-chamber of a chandeliered ballroom was elegant and practical, its central beige marble staircase and banquettes of sofas allowing for varied levels and meaningful compositions. The segue that followed ‘Zdenko’ and Matteo into the men’s room was funny and inventive. The permanent white box framing the extreme front of the stage became a sort of no man's land of collective consciousness wherein principals not only came to grips with their own introspections, but also interacted with other characters without distraction.
In a brilliant decision, the entire final conflict and confrontation scene was enclosed in that box, with characters almost literally bouncing off the boundaries liked caged animals. When the up left panel opened a crack to uncover a cramped group of eavesdroppers, it was as though a veil had been lifted on the characters’ psyches, suggesting a disturbing breach of privacy and decorum.
Christof Loy has, on this occasion, found a consistency of approach, created telling stage pictures, nurtured detailed character interaction, and invested the whole affair with considerable wit and imagination. I will not soon forget Zdenka revealing herself as a female by tearing off her shirt and pulling down her pants to reveal the black dress she wore for the seduction, then hobbling comically about the stage with her pants around her ankles. Funny yes, but also truthful. Even the stretches of solos directed through the fourth wall seemed to have found dramatic purpose, and emotional states were always well-communicated.
Converse to injecting fresh humor into certain moments, Mr. Loy managed to bring darkness to the usual flippant antics of the ball scene, with a doped up Fiakerlmilli being abused, Matteo attempting a suicide with a pistol, and wasted young revelers tumbling and rolling about with waning motor function. In another masterful (and not disruptive) invention, the director injected a loooooooooong silent pause in Act III just before Zdenka confesses all, a wrenching moment that held us rapt as the girl grappled with the truth in anguish. Very moving. Perhaps my change of heart lies largely with the capabilities of a cast that could hardly be bettered.
In the title role, the radiant Jacquelyn Wagner’s flawless account announced to the world that she owns the part for the foreseeable future. Ms. Wagner is an ideal Arabella, with a gleaming, warm soprano that has body and sheen in every register and at every volume. She is a lithe and lovely actress, effortlessly elegant, yet capable of sass and sparkle for stage bits like her contentious relationship with her fur coat, or her chucking the goddam roses on the floor in frustration. Best of all, while she is highly adept at thrillingly expansive vocalism, she can also effectively handle the required smaller moments of self-doubt, all the while flat out “singing” them with body and point. Not for Jackie the mewing, cooing, sotto voce posturings and affectations of other “interpreters.” She just sings the damn’ thing! Gloriously. You heard it from me: Jacquelyn Wagner is the must-have Arabella of the moment. The Dutch public embraced her success with a “fortississimo” ovation.
No less remarkable was the (let me just say it) best-sung Mandryka I will ever likely hear. James Rutherford has a singularly beautiful instrument, manly, buzzing, robust, warm, substantial, and well, Terfel-ish. Mr. Rutherford has been assuming Wagner roles in smaller, acoustically friendly houses (to include Bayreuth) but I have no doubt he has the fire-power and stamina to conquer any stage he visits. His rolling bass-baritone is hooked up from top to bottom, and James also really sings the part, quite a departure from the barking, hectoring prats that we too often encounter. He has an easy “bear” presence on stage, and made a crackerjack of an entrance when he strode on stage in an ostentations rustic coat made from fur of an animal(s) he might have killed himself. (The apt costumes are also by Mr. Murauer). When Mandryka’s grievous error is revealed, Mr. Rutherford just crumbles, and his appeal is such that we grieve for his heart-wrenching humiliation. If it got any better than this my heart couldn’t take it. Another star on the rise.
Nor to imply that those two stars over-shadowed Zdenka, because Agneta Eichenholz simply knocked it out of the park. Ms. Eichenholz sports a full-bodied lyric soprano with plenty of sparkle and thrust, deployed with lots of heart and superb artistry. The character arguably takes the biggest journey over the evening, and Agneta conveyed it beautifully, all the while singing with secure legato and plenty of fire. She also paired gorgeously with Arabella, both sopranos able to imbue their duets with a haunting, inviting quality that had seamless appeal.
Susanne Elmark’s slender, fluty soprano was absolutely rock-soild, projected cleanly, and was possessed of meticulous coloratura. The musical excesses and extremes of the role held absolutely no terror for her as evidenced by her assured musical performance. She was all the more remarkable for executing all the fireworks while impersonating a drug-impaired, loose-limbed good time girl, who gets more than she bargained for.
Will Hartmann’s Matteo provided many happy moments when his compact tenor soared over the orchestras, but during a couple of quieter patches his tone experienced a mite of unsteadiness, making me wonder if there was some ‘heft’ being imposed on a more lyrical instrument which made for difficulties when he changed gears. Still, Mr. Hartmann was dramatically involved and affecting. Marcel Reijans as Count Elemer, showed off a light but shining tenor, and displayed a bright, engagingly boyish timbre. Rogert Smeets’s Dominic was typically secure and reliably solid; while the handsome Thomas Dear succeeded as Lamoral, entertaining us with a dark and pleasing bass, used with pointed gravity.
Local girl Charlotte Margiono can do no wrong, and indeed, she proved to be luxury casting as Adelaide. The accomplished soprano still has a sumptuous roundness, plenty of heft, and admirable clarity. Ms. Margiono savored her turn in the spotlight, especially during the naughtier bits where she proved there is fire in the old girl yet. She (and we) had a blast. Alfred Reiter proved to be a perfect foil as the willful Count Waldner His big, biting voice may be more imposing than appealing at this point in his career, but it served the character well. While her name is almost longer than the role, Ursula Hesse von den Steinen knocked our socks off at the top of the night, with a socko turn as the Fortune Teller that had real fire, commitment, a blazing chest voice and a searing top. She took the stage, seized the moment, and boy, did she get our attention!
Under Marc Albrecht’s baton, the Netherlands Philharmonic was dazzling, on fire with a virtuosic intent that swept every element of the production along with it. Maestro Albrecht led a propulsive, richly detailed reading that seemed inevitable yet carefully controlled. The winds were especially vivid, the brass statements verged on the profound, and the sumptuous strings could provide a lush bed of sound second to none. From ‘tutti’ ensemble playing to lean, exposed accompaniment, nothing eluded this inspired groups of players. Their and Mr. Albrecht’s triumph earned the day’s most vociferous acclaim.
Cast and production information:
Count Waldner: Alfred Reiter; Adelaide: Charlotte Margiono; Arabella: Jacquelyn Wagner; Zdenka: Agneta Eichenholz; Mandryka: James Rutherford; Matteo: Will Hartmann; Count Elemer: Marcel Reijans; Count Dominic: Rogert Smeets; Count Lamoral: Thomas Dear; Fiakermilli: Susanne Elmark; Fortune Teller: Ursula Hesse von den Steinen; Welko: Richard Meijer; Servant: Richard Prada; Conductor: Marc Albrecht; Director: Christof Loy; Set and Costume Design: Herbert Murauer; Lighting Design: Reinhard Traub; Netherlands Philharmonic Orchestra