08 May 2014
Baden-Baden: Proficient Puccini as Easter Treat
Baden’s Easter Festival centerpiece was a solid production of Manon Lescaut that was well-intended, well-designed, and well-performed.
Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.
A historical afternoon at the NTR Saturday Matinee occurred with an epic concert version of Prokofiev’s Soviet Opera Semyon Kotko.
Opening night at the Metropolitan is a gleeful occasion even when the composer is long gone, but December 1st was an opening for a living composer who has been making waves around the world and is, gasp, a woman — the second woman composer ever to have an opera presented at the Met.
For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.
As the German language describes so beautifully, a “Schrei aus tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra from the depths of her soul.
Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.
Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.
On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.
Here is one of the next new great conductors. That’s a bold statement, but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment “is the biggest news in the conducting world.” But Ms. Mirga Gražinytė-Tyla will be getting a lot of weight on her shoulders.
Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.
Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.
On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.
Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.
You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.
If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.
Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.
I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.
For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.
Akhnaten is the third in composer Philip Glass’s trilogy of operas about people who have made important contributions to society: Albert Einstein in science, Mahatma Gandhi in politics, and Akhnaten in religion. Glass’s three operas are: Einstein on the Beach, Satyagraha, and Akhnaten.
Shakespeare re-imagined for the very Late Baroque, with Bampton Classical Opera at St John's Smith Square. "Shakespeare, Shakespeare, Shakespeare....the God of Our Idolatory". So wrote David Garrick in his Ode to Shakespeare (1759) through which the actor and showman marketed Shakespeare to new audiences, fanning the flames of "Bardolatory". All Europe was soon caught up in the frenzy.
Baden’s Easter Festival centerpiece was a solid production of Manon Lescaut that was well-intended, well-designed, and well-performed.
Everything about this production was lavished with the highest production standards. The stars were first tier. The staging and designs were fresh and eye-catching. The pit was peopled with some of the best musicians in the world. So then, why was I left somewhat wanting at curtain fall? Hmmmm.
Perhaps it was that the assembled forces worked so hard at ‘play-acting’ the fire of passion, that they forgot to put any real firewood in the stove. Much of what was on display seemed ‘busy’ and externalized, when the youthful score cries out for internalized commitment and sincerity to complete it. Too, re-setting the story during the German Occupation of France, while not really damaging, did little to ground it in the proper emotional frame of reference.
Disclaimer: I adore Eva Maria Westbroek. Ever since I thrilled to her triumph at the Paris Opera in Lady Macbeth of Mtsensk (one of the greatest performances I have ever experienced) I have been won over by every subsequent encounter. And Ms. Westbroek certainly does well enough by Manon. Her full-bodied, generous soprano has an über-feminine appeal that communicates especially well once past the naiveté of Act I. She is a fearless actress, entering into each confrontation scene or sexual encounter with abandon. She invests her lines with dramatic coloring, and she can crest over the orchestra one minute, and scale down to sweet piano phrasings the next, although the voice occasionally loses pliability coming off high volume singing. Eva is a consummate vocal actress, and the coloring in the death scene was profound.
That said, the timbre of the voice is not quite the right fit for this particular heroine. The silver and cream that are needed to limn such passages as In quelle trine morbide are not hers to command. And she was not well-served by her costumes, a pity since otherwise Fotini Dimou designed uncommonly fine attire for the production. Ms. Westbroek has a somewhat generous figure, and the period silhouette was not as flattering as another era may have been. Puccini’s Minnie (Fanciulla) proved a fine match for the talented soprano. His Manon Lescaut seems less so, and while she is incapable of giving less than 110%, I wonder if she will continue to pursue the part. All the admirable craft was on full display, but the final sheen was missing.
As Des Grieux, Massimo Giordano has a lot going for him. He is HD-telecast-Poster-Boy handsome, cutting a lean and youthful figure. If only his tenor were not also ‘quite’ so lean. He was never ineffective, and his Italianate lyric sound was bright and clean. I feared for his success at the start when his conversational delivery was nearly inaudible. By the time he launched into Tra voi, belle, brune e bionde, Mr. Giordano was on firmer ground, and the voice grew in confidence and stature as the act progressed.
But to an audience of a certain age (that would include me), for better or worse, we have Placido and Luciano in our ears in this role. Massimo is a fine artist with a committed delivery and absolute understanding of the character and how to vary his expression. While he is well-suited to Massenet’s Des Grieux (which he has also performed), Puccini’s big climaxes are ‘just’ beyond his reach. To his credit, he paces himself well, his voice is well-schooled and attractive, and he knows how to approximate the required spinto heft by tightening up his focus and straightening the tone. It works. . .for now.
Lester Lynch was a pleasure to hear as Lescaut. Mr. Lynch has a ravishing, rolling baritone with power to spare, and excellent hook-up from top to bottom. His assured vocalizing was impressive and welcome. As Geronte, Liang Li unleashed a malevolent, dark, searing voice that was not only deployed with craft and power, but was also capable of subtlety and nuance. Young Romanian tenor Bogdan Mihai was boyishly appealing as Edmondo, one of the best-rounded, spontaneous performances of the night. His effortless lyric tenor and coltish, animated stage movement brought considerable life and sparkle to Act I. He was having such a good time as the joking student that it was infectious. All the featured roles were well taken, and in a bit of luxury casting, Magdalena Kožená commanded our attention as the Singer in Manon’s boudoir. Walter Zeh’s chorus was excellent throughout, dramatically engaged and musically precise.
The ‘Festival’ aura was largely provided by the Berlin Philharmonic’s informed reading under the accomplished baton of Simon Rattle. Merely having one of the world’s top orchestras present in the pit is cause for rejoicing, of course, and there is considerable pride in, and buzz about having landed their services. But they earned their prolonged enthusiastic ovations honestly with a performance that revealed colors and gradations that usually get over-looked. Maestro Rattle presided over a well-shaped rendition that not only capitalized on Puccini’s early promise, but also maximized the effect of less well-developed passages. What score doesn’t benefit from virtuosic playing? Manon Lescaut never had it so good.
If the physical production posed more questions than it answered, it was never uninteresting, frequently captivating, and always thought-provoking. We were seldom allowed to forget that France was being occupied, and the looming menace of soldiers intent on enforcing order was ever present.
Rob Howell has designed imposing sets that seem to be a skewed version of French locales as re-imagined in the style of overstated Fascist monolithic architecture. At curtain rise we are bowled over by stage-filling circular stone steps (slightly akimbo), a colonnade atop the stairs with a train station high upstage (yes, Manon arrives on a train to grand effect). Stage right main floor and stair area is filled with students and “citoyens” milling and partying, provoking the soldiers to nervously close ranks whenever the group activity go too synchronized. Stage left there is an Art Nouveau “inn” with practical balcony, and a down stage settee perfect for more intimate moments. Peter Mumford has lit the production beautifully, nowhere more so then in this opening setting with its different areas, and varied interiors.
With his production team, director Richard Eyre has devised some intriguing interpretations. For one, this production is far sexier than usual. Bottoms get grabbed, legs are kissed, petting is encouraged, and breasts are there to be fondled. This inhibition establishes an atmosphere that informs (excuses?) Manon’s fecklessness.
I loved the addition of a tango dancer (Saulo Garrido) in the bedroom entertainment mix. Having him dance first with Manon, and then adding Geronte, titillated us with a ‘three-way’ image, all the while it established that Manon and Geronte were clearly still having an active sexual relationship. When Des Grieux returns to her and the great Act II duet commences, clothes get removed during a seductive cat and mouse game and the pair winds up in bed. I loved Manon’s high-school-girlish taunting of Geronte as he discovers the indiscreet pair.
Mr. Howell’s setting again impressed, the whole founded on another version of big rounded stairs (now stage left), with an entrance door high atop, and a (poorly kept) secret escape door under the staircase down left. The huge painted screen facilitated costume changes, the bed was sumptuously appointed and the floor-to-ceiling windows rising stage right powerfully communicated the wealthy environment. In the direction, there was a lot of playful jostling invented between the heroine and her brother that alleviated her well-established boredom. In fact, Lescaut had much more dimension than usual, and he actually came in wounded in Act III when the gunfire started, adding yet another dynamic.
That dock setting boasted a massive rounded platform above jail cells, with a looming prow of a ship above and behind it all. The ship accommodated a drummer that added good effect to the deportation scene, which was notable for its masterful uses of levels. For that pesky and troublesome “desert” scene, Mr. Eyre’s version was set in the massive ruins of scenic elements we had already experienced, suggesting psychological ruins. A bold stroke that made as much sense as a desert in Louisiana.
All in all then, Baden-Baden’s Manon Lescaut was a formidable achievement. It just seemed curiously to be the wrong one.
Cast and production information:
Manon Lescaut: Eva-Maria Westbroek; Lescaut: Lester Lynch; Chevalier Des Grieux: Massimo Giordano; Geronte de Ravoir: Liang Li; Edmondo: Bogdan Mihai; Innkeeper/Sea Captain: Reinhard Dorn; Singer: Magdalena Kožená; Ballet Master: Kresimir Spicer; Lamplighter: Arthur Spiritu; Sergeant: Johannes Kammler; Tango Dancer: Saulo Garrido; Conductor: Simon Rattle; Director: Richard Eyre; Set Design: Rob Howell; Costume Design: Fotini Dimou; Lighting Design: Peter Mumford; Chorus Master: Walter Zeh