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

Gounod’s Roméo et Juliette at Lyric Opera, Chicago

Lyric Opera of Chicago staged Charles Gounod’s Roméo et Juliette as the last opera in its current subscription season.

L’incoronazione di Poppea, RAO

‘The plot is perhaps the least moral in all opera; wrong triumphs in the name of love and we are not expected to mind.’

Madame Butterfly , ENO

Anthony Minghella’s production of Madame Butterfly for ENO is wearing well. First seen in 2005, it is now being aired for the sixth time and is still, as I observed in 2013, ‘a breath-taking visual banquet’.

Valiant but tentative: La straniera at the Concertgebouw

This concert version of La straniera felt like a compulsory musicology field trip, but it had enough vocal flashes to lobby for more frequent performances of this midway Bellini.

London Festival of Baroque Music 2016: Words with Purcell

As poetry is the harmony of words, so music is that of notes; and as poetry is a rise above prose and oratory, so is music the exaltation of poetry.

The Dark Mirror: Zender’s Winterreise

From experiments with musique concrète in the 1940s, to the Minimalists’ explorations into tape-loop effects in the 1960s, via the appearance of hip-hop in the 1970s and its subsequent influence on electronic dance music in the 1980s, to digital production methods today, ‘sampling’ techniques have been employed by musicians working in genres as diverse as jazz fusion, psychedelic rock and classical music.

Great Scott Wows San Diego

On May 7, 2016, San Diego Opera presented the West Coast premiere of Great Scott, an opera by Terrence McNally and Jake Heggie. McNally’s original libretto pokes fun at everything from football to bel canto period opera. It includes snippets of nineteenth century tunes as well as Heggie's own bel canto writing.

Bellini’s Adelson e Salvini, London

A foiled abduction, a castle-threatening inferno, romantic infatuation, guilt-laden near-suicide, gun-shots and knife-blows: Andrea Leone Tottola’s libretto for Vincenzo Bellini’s first opera, Adelson e Salvini, certainly does not lack dramatic incident.

Manitoba Opera: Of Mice and Men

Opera as an art form has never shied away from the grittier shadows of life. Nor has Manitoba Opera, with its recent past productions dealing with torture, incest, murder and desperate political prisoners still so tragically relevant today.

The Rose and the Ring

Published in 1855 as an entertainment for his two daughters, William Makepeace Thackeray’s The Rose and the Ring is a burlesque fairy-tale whose plot — to the author’s wilful delight, perhaps — defies summation and elucidation.

The Lighthouse at San Francisco’s Opera Parallèle

What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.

King’s Consort at Wigmore Hall

I suspect that many of those at the Wigmore Hall for The King’s Consort’s performance of the La Senna festeggiante (The Rejoicing Seine) were lured by the cachet of ‘Antonio Vivaldi’ and further enticed by the notion of a lover’s serenade at which the generic term ‘serenata’ seems to hint.

Kathleen Ferrier Awards 2016

Having enjoyed superb singing by a young cast of soloists in Classical Opera’s UK premiere of Jommelli’s Il Vogoleso the previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final at the Wigmore Hall confirmed the strength and depth of talent possessed by the young singers studying in and emerging from our academies and conservatoires.

Pacific Opera Project Recreates Mozart and Salieri Contest

On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.

Powerful chemistry in La Cenerentola in Cologne

Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.

Tannhäuser: Royal Opera House, London

London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.

The Golden Cockerel in Düsseldorf

Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.

San Diego Opera Presents a Tragic Madama Butterfly

On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.

Simon Rattle conducts Tristan und Isolde

New Co-Production Tristan und Isolde with Metropolitan: Simon Rattle and Westbroek electrify Treliński’s Opera-Noir.

San Jose’s Smooth Streetcar Ride

In an operatic world crowded with sure-fire bread and butter repertoire, Opera San Jose has boldly chosen to lavish a new production on a dark horse, Andre Previn’s A Streetcar Named Desire.

OPERA TODAY ARCHIVES »

Performances

A scene from Don Giovanni [Photo by Robert Workman]
10 Jun 2014

Don Giovanni, Glyndebourne

Having become so jaded with indifferent — or, sadly, far worse than merely indifferent — stagings of an opera I love more than words can tell, it proved a relief and indeed a joy for me to attend this first revival of Jonathan Kent’s 2010 Glyndebourne production, especially its first act.

Don Giovanni, Glyndebourne

A review by Mark Berry

Above: A scene from Don Giovanni [Photo by Robert Workman]

 

It was not perfect; perfection we leave for Mozart. But Kent’s staging, as revived by Lloyd Wood — I am afraid I am in no position to say how much is Kent and how much is Wood — treats this masterpiece seriously and joins a select group of productions I should happily see again, not least because I suspect there would be intriguing points revealed to me that I had missed upon a first viewing. (Incidentally, its Glyndebourne predecessor, from Graham Vick, forms part of that small band.)

Kent’s staging may lack the cocaine-fuelled kinetic energy of Calixto Bieito’s unforgettable ENO production, or the (apparently) all-encompassing, Calderón-like Salzburg World Theatre of Herbert Graf’s production for Furtwängler (the most precious opera DVD this side of the Boulez-Chéreau Ring?), but even such magnificent achievements as those can only begin to hint at the possibilities Mozart and Da Ponte offer us. Most stagings come nowhere near accomplishing even that. Social tensions are either absent or underplayed — an all too common shortcoming — but a seriousness and sensibility it is perhaps not unduly exaggerated to call theological nevertheless comes to the fore. Giovanni’s unflinching, libertine atheism is of course the true heroism of the opera. The dark force of what to him may be reaction is symbolised by the darkness of Paul Brown’s excellent set designs, from out of which the action seems to emerge and into which it retreats. But some in the audience — and some of the characters too — might equally decide that it is the temporal stability of the revolving cube (the Mother Church, perhaps?) which protects and which ultimately proves the villain’s downfall.

Such openness to interpretation is quite different from a lack of direction. There is room for the burning conviction of strong directorial lines — Bieito is surely one of the greatest and unquestionably one of the most celebrate examples — and for more reticent yet nevertheless intelligent productions, permitting of various understandings. In that respect, Kent’s likening, in his brief director’s note, of Brown’s spinning cube to ‘a kind of Cabinet of Curiosities or, perhaps, a great sarcophagus,’ proves fruitful both in itself and for the further consideration it might suggest. Moreover, such properly Baroque references, in a more broadly cultural sense rather than the narrow conceptions of ‘style’ prevalent today, prove equally stimulating to the imagination — just as they do in Mozart’s score and Da Ponte’s libretto. The 1950s updating registers if one wishes: Kent suggests a ‘time of transition, in which a sexual, social and moral revolution, a dolce vita world, coexisted with the remnants of a devout society. However, at least to my eyes, it does not force itself unduly upon one’s consciousness. The staging is again, then, suggestive; it does not make the mistake of trying to shoehorn the drama into a pointlessly narrow conception, let alone somehow attempt to make Don Giovanni ‘about’ the era in question.

There remains, however, one significant reservation. I do not know whose decision it was to serve up what seemed pretty much to be the Vienna version of the score, but I wish he or she had thought again; it made a change, though, from the unholy conflation of Vienna and Prague generally foisted upon us. To anyone who cares to think about it, Prague wins every time, although I have yet to attend a single performance in which Mozart’s dramatic sensibility is thus honoured. At any rate, we heard both of Donna Elvira’s arias, just the one of Don Ottavio’s (‘Dalla sua pace’), and the very rare Vienna duet for Zerlina and Leporello, ‘Per queste tue manine’. It was not, of course, uninteresting to hear the latter, for once, but it is almost unworthy of late Mozart, and holds up the action just as much as if we were to hear both of Ottavio’s arias (and/or, for that matter, both of Elvira’s: just as much a problem with Vienna). There was, at least, no messing about with the scena ultima — a relief, given the recent butchery perpetrated by the Royal Opera. It was a great pity, though, about the surtitles, whose translation was unworthy of Da Ponte’s matchless marriage of wit and profundity.

Andrés Orozco-Estrada’s Mahler I greatly admired in Vienna a year-and-a-half ago. At first, that is, in the Overture, I found him somewhat wanting in Mozart. I have learned to live with the opening being taken at an allegedly alla breve tempo far too fast to my ears; off the top of my head, only Barenboim and Muti, amongst living conductors, come close to what I hear in my head. More concerning were a general thinness of tone and apparent lack of concern with harmonic rhythm. If those were not actually natural trumpets — I could not see the pit — they certainly sounded like them; others, of course, respond better to that rasping sound than I do. However, once past that disappointing opening, there was much to admire, though such tendencies were far from entirely banished. There will always be tempi with which one can quibble, but this was a variegated performance which did not harry the music, and which permitted both the on-stage drama to develop and the excellent London Philharmonic Orchestra to have its say. The Stone Guest Scene, however, was strangely un-climactic: partly, I think, a matter of the failure to use the Prague score, but it was more than that, for that failing is common to many other performances. Though beautifully played by the LPO and — for the most part — well sung, the final scene therefore did not jolt quite as it should.

Indeed, the main factor was probably the underpowered singing of Taras Shtonda’s Commendatore. The other disappointment amongst the cast was Layla Claire’s vibrato-laden Donna Anna, whose musical line really needed to be clearer throughout. Otherwise, a cast almost entirely unknown to me acquitted itself well, with a fine sense of company. Ben Johnson, whom I had heard before as Ottavio, albeit in English, sang exquisitely, almost to the extent of having one regret the lack of ‘Il mio tesoro’. Serena Farnocchia was a stylish Elvira, whilst Lenka Máčiková and Brandon Cedel offered vocally lively assumptions of the roles of Zerlina and Masetto. If Elliot Madore lacked the charisma of the great Giovannis, then he nevertheless delighted in the musico-dramatic quicksilver of the role, sufficiently differentiated from the equally lively Leporello of Edwin Crossley-Mercer. There was genuine chemistry between them. Perhaps ironically, given the ‘loss’ of his aria, it was only Johnson’s Ottavio which continued to ring in my ears; but this, like the production and performance as a whole, was a cast that proved considerably greater than the sum of its parts.

Mark Berry


Cast and production information:

Leporello: Edwin Crossley-Mercer; Donna Anna: Layla Claire; Don Giovanni: Elliot Madore; Commendatore: Taras Shtonda; Don Ottavio: Ben Johnson; Donna Elvira: Serena Farnocchia; Zerlina: Lenka Máčiková; Masetto: Brandon Cedel. Director: Jonathan Kent; Revival director: Lloyd Wood; Designs: Paul Brown; Movement: Denni Sayers; Lighting: Mark Henderson. The Glyndebourne Chorus (chorus master: Jeremy Bines)/London Philharmonic Orchestra/Andrés Orozco-Estrada (conductor). Glyndebourne Festival Theatre, Saturday 7 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):