08 May 2014
Amsterdam: Arabella’s New Water in Old Glasses
What a difference a venue and a cast can make!
The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission
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.
“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.
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.
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.
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.
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.
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).
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.
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.
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.
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.
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.
Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.
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.
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.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
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.
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.
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.
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