Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Poliuto, Glyndebourne

Donizetti’s Poliuto at Glyndebourne could well become one of of the great Glyndebourne classics.

Carmen by ENO

Dystopic vision of Carmen, brought to life by vibrantly gripping performances

Pacific Opera Project Presents Ariadne auf Naxos

Pacific Opera Project, a small Los Angeles company, presented a production of Richard Strauss's Ariadne auf Naxos at the Ebell Club with an excellent group of young singers at the beginning of what should be good careers.

Varispeed pushes the possibilities of opera forward with Robert Ashley’s Crash

Six people, dressed in ordinary clothing, sitting in a row at desks adorned only with microphones and glasses of water, and talking for ninety minutes: is it opera?

Rising Stars in Concert, Lyric Opera of Chicago

The spring concert of Rising Stars in Concert, sponsored by and featuring current members of the Patrick G. and Shirley W. Ryan Opera Center at Lyric Opera of Chicago, showcased a number of talents that will no doubt continue to grace the stages of the world’s operatic theaters.

The Singers Sparkle in New York Opera Exchange’s Carmen

New York Opera Exchange’s production of Carmen from May 8th to 10th highlighted that which opera devotees have been saying for years: Opera, far from being dead, is vibrant and evolving.

‘Where’er You Walk’: Handel’s Favourite Tenor

I have sometimes lamented the preference of Ian Page’s Classical Opera for concert performances and recordings over staged productions, albeit that their renditions of eighteenth-century operas and vocal works are unfailingly stylish, illuminating and supported by worthy research.

The Pirates of Penzance, ENO

Topsy Turvy, Mike Leigh’s 1999 film starring Timothy Spall and Jim Broadbent, dramatized the fraught working relationship of William Gilbert and Arthur Sullivan; it won four Oscar nominations (garnering two Academy Awards, for costume and make-up) and is a wonderful exploration of the creative process of bringing a theatrical work to life.

Manitoba Opera: Turandot

There’s little doubt that Puccini’s Turandot is a flawed, illogical fairytale. Yet it continues to resonate today with its undying “love shall conquer all” ethos, where even the most heinous crimes may be forgiven by that which makes the world go ‘round.

Mariachi Opera El Pasado Nunca se Termina Comes to San Diego

On April 25, 2015, San Diego Opera presented it’s second Mariachi opera: El Pasado Nunca se Termina (The Past is Never Finished) by Jose “Pepe” Martinez, Leonard Foglia and Mariachi Vargas de Tecalitlán.

Antonio Pappano: Royal Opera House Orchestral Concerts

Ambition achieved! Antonio Pappano brought the Orchestra of the Royal Opera House out of the pit and onto the stage, the centre of attention in their own right.

Bedřich Smetana: Dalibor, Barbican Hall

Jiří Bělohlávek’s annual Czech opera series at the Barbican, London, with the BBC SO continued with Bedřich Smetana’s Dalibor.

Orlando Explores Art Without Boundaries

R.B. Schlather’s production of Handel’s Orlando asks the enigmatic question: Where do the boundaries of performance art begin, and where do they end?

The Virtues of Things

A good number of recent shorter operas, particularly those performed in this country, made a stronger impression with their libretti than their scores.

Król Roger, Royal Opera

It has taken almost 89 years for Karol Szymanowski’s Król Roger to reach the stage of Covent Garden.

San Diego Opera Celebrates 50 Years of Great Singing

San Diego Opera, the company that General Manager Ian Campbell had scheduled for demolition, proved that it is alive and singing as beautifully as ever. Its 2015 season was cut back slightly and management has become a bit leaner, but the company celebrated its fiftieth season in fine style with a concert that included many of the greatest arias ever written.

Hercules vs Vampires: Film Becomes Opera!

In the early sixties, Italian film director Mario Bava was making pictures with male body builders whose well oiled physiques appeared spectacular on the screen.

J. C. Bach: Adriano in Siria

At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme each season during the next 27 years to exploring the music by Mozart and his contemporaries which was being written and performed exactly 250 years previously.

Bethan Langford, Wigmore Hall

The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.

Tansy Davies: Between Worlds (world premiere)

An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.

OPERA TODAY ARCHIVES »

Performances

18 May 2014

Strauss: Der Rosenkavalier, Glyndebourne 2014

Der Rosenkavalier opened Glyndebourne’s 80th anniversary season, dedicated to the memory of George Christie, who created country house opera as we know it today.

Richard Strauss: Der Rosenkavalier, Glyndebourne Festival Opera, West Sussex, 17th May 2014

A review by Anne Ozorio

 

“My father loved Der Rosenkavalier”, said Gus Christie. “I think he would have liked this production”, he added with a wink, “Though he would, as always, have had a lot to say about it”. He’s right. The more we care about an opera, the more we get from fresh perspectives. This 2014 Glyndebourne Rosenkavalier is provocative because it focuses on Baron Ochs and what he stands for. Richard Strauss polishes surfaces so glossy that we’re too dazzled, blinded to the sinister depths that lurk within to think of meaning.

Think about what Der Rosenkavalier might mean. The Marschallin lives in luxury, but she’s not fooled. Like Sophie, she herself was traded in marriage like a consumer product. Baron Ochs symbolizes a system that places more value in crass commerce than on human values. The Marschallin, Kate Royal, appears in a nude suit, rising from her bath like Venus. It’s audacious, but absolutely to the point. She’s flaunting her wares. Her bedroom is invaded by merchants, each flogging some product. One is an Italian Singer (Andrej Dunaev). His song is sweet but banal. Strauss is sending up art calculated to please the marketplace. Baron Ochs (Lars Woldt) is right in. He’s come to buy a bride, but he’ll grope any woman available, even if the “woman” is a man. Only when the Marschallin is alone can she be herself. As Kate Royal sings her last lines at the end of the First Act, the yellow and grey designer wrapping paper decor is transformed by light into silver and gold.

Octavian (Tara Erraught) presents the silver rose to Sophie (Teodora Gheorghiu).but the ritual goes wrong. They fall in love. The audience howled with laughter when the lovers locked foreheads and rocked together in unison, but the naivety contrasts well with the devious machinations going all round them. Humour is a key into Richard Strauss. This Richard Jones production is lively but it contributes greatly to this Richard Strauss anniversary year because it shows how Strauss uses wit as a weapon against mindless conformity. Der Rosenkavalier isn’t superficial, it’s satire. There’s glamour, and romance, but it has a core of solid silver.

If there’s a moral in Der Rosenkavalier, it might be “Things don’t have to be the way we think they should be”. The Marschallin gives up her dream of love so Octavian and Sophie can have a future. She concocts a plot to expose Ochs for what he is: ox by name and nature. Ochs is lured to an inn so garish that anyone with real taste would be screaming to escape from it. Ochs’s favourite song “Ohne mich” is a tune anyone can hum, but that doesn’t make it good music. He’s also easily fooled by fake peasant costumes. Och’s knows what he likes, but that’s the problem. He doesn’t take any one else into consideration. Lars Woldt’s performance is outstanding, one of the sharpest Ochs I can remember offhand. He’s not a comic parody but all too believable. This type inhabits all walks of life, including the opera world. Woldt defines each word with precision, observing the changes in pitch with clear deliberation. Woldt acts well too, moving with animal agility. Ochs is not a buffoon but a man who gets his way by selfishness and cunning. That’s why he’s so dangerous. He knows how to use the system against those less ruthless. There aren’t enough Marschallins around.

The words “Papa! Papa!” ring with shrill accusation. When Ochs is trapped, the stage fills with those whom he’s harmed or could harm if he could. Strauss operas are often “busy” with numerous characters whose moment may not last long but who are integral to the plot. In this production, even non-verbal parts like Ochs’s eldest son and the black servant are given “voices” that define their role perceptively. Ochs’s son can never inherit, and the black servant can’t dream of winning the Marschallin, but they deserve dignity, too. Big on stage ensembles pose problems in any staging. Here, Jones and his Movement Director Sarah Fahie choreograph the interactions between those on stage and the sounds from the pit with such detail that it feels that the score is literally coming to life. Robin Ticciati’s first performance in his new role was somewhat tentative in places, but in the last act everything came together, and the music shone in glorious savagery.

Despite the many superb Der Rosenkavalier productions of the past that have shaped our memories, performances are generally good all round. Kate Royal, a perennial house favourite, won great applause. She’s so beautiful she seems almost too idealized for the part, but I liked the wry grit with which she sang her final benediction to Octavian and Sophie.Tara Erraught’s Octavian was robustly acted with earthy glee. Jones developed Sophie with more personality than the part often receives, so Teodora Gheorghiu could sing it with charm. Glyndebourne’s budget doesn’t run to megastars so lesser roles are often extremely well cast. Michael Krauss’s Faninal was extremely well presented — nice, firm singing and poise. Christopher Gillett and Helene Schneiderman sang Valzacchi and Annina with great character. Robert Wörle and Scott Conner sang The Innkeeper and the Police Commissioner. Even smaller parts were thought through carefully and presented with conviction. Richard Jones’s style (with designs by Paul Steinberg and Nicky Gillibrand) isn’t usually my taste, but his is a production filled with well thought out detail and definition. Ochs might not like it, but I and most of the Glyndebourne audience got it.

Anne Ozorio

For more details please see the Glyndebourne website. This production will also be broadcast live online and in cinemas on 8th June 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):