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

Classical Opera/The Mozartists celebrate 20 years of music-making

Classical Opera celebrated 20 years of music-making and story-telling with a characteristically ambitious and eclectic sequence of musical works at the Barbican Hall. Themes of creation and renewal were to the fore, and after a first half comprising a variety of vocal works and short poems, ‘Classical Opera’ were succeeded by their complementary alter ego, ‘The Mozartists’, in the second part of the concert for a rousing performance of Beethoven’s Choral Symphony - a work described by Page as ‘in many ways the most iconic work in the repertoire’.

Back to Baroque and to the battle lines with English Touring Opera

Romeo and Juliet, Rinaldo and Armida, Ramadès and Aida: love thwarted by warring countries and families is a perennial trope of literature, myth and history. Indeed, ‘Love and war are all one,’ declared Miguel de Cervantes in Don Quixote, a sentiment which seems to be particularly exemplified by the world of baroque opera with its penchant for plundering Classical Greek and Roman myths for their extreme passions and conflicts. English Touring Opera’s 2017 autumn tour takes us back to the Baroque and back to the battle-lines.

Gluck’s Orphée et Eurydice at Lyric Opera of Chicago

Christoph Willibald von Gluck’s Orphée et Eurydice opened the 2017–18 season at Lyric Opera of Chicago.

Michelle DeYoung, Mahler Symphony no 3 London

The Third Coming ! Esa-Pekka Salonen conducted Mahler Symphony no 3 with the Philharmonia at the Royal Festival Hall with Michelle DeYoung, the Philharmonia Voices and the Tiffin Boys’ Choir. It was live streamed worldwide, an indication of just how important this concert was, for it marks the Philharmonia's 34-year relationship with Salonen.

King Arthur at the Barbican: a semi-opera for the 'Brexit Age'

Purcell’s and Dryden’s King Arthur: or the British Worthy presents ‘problems’ for directors. It began life as a propaganda piece, Albion and Albanius, in 1683, during the reign of Charles II, but did not appear on stage as King Arthur until 1691 when William of Orange had ascended to the British Throne to rule as William III alongside his wife Mary and the political climate had changed significantly.

Anne Schwanewilms sings Schreker, Schubert, Liszt and Korngold

On a day when events in Las Vegas cast a shadow over much of the news this was not the most comfortable recital to sit through for many reasons. The chosen repertoire did, at times, feel unduly heavy - and very Germanic - but it was also unevenly sung.

The Life to Come: a new opera by Louis Mander and Stephen Fry

It began ‘with a purely obscene fancy of a Missionary in difficulties’. So E.M. Forster wrote to Siegfried Sassoon in August 1923, of his short story ‘The Life to Come’ - the title story of a collection that was not published until 1972, two years after Forster’s death.

Aida opens the season at ENO

Director Phelim McDermott’s new Aida at ENO seems to have been conceived more in terms of what it will look like rather than what the opera is or might be ‘about’. And, it certainly does look good. Designer Tom Pye - with whom McDermott worked for ENO’s Akhnaten last year (alongside his other Improbable company colleague, costume designer Kevin Pollard) - has again conjured striking tableaux and eye-catching motifs, and a colour scheme which balances sumptuous richness with shadow and mystery.

La Traviata in San Francisco

A beautifully sung Traviata in British stage director John Copley’s 1987 production, begging the question is this grand old (30 years) production the SFO mise en scène for all times.

The Judas Passion: Sally Beamish and David Harsent offer new perspectives

Was Judas a man ‘both vile and justifiably despised: an agent of the Devil, or a man who God-given task was to set in train an event that would be the salvation of Humankind’? This is the question at the heart of Sally Beamish’s The Judas Passion, commissioned jointly by the Orchestra of the Age of Enlightenment and the Philharmonia Baroque of San Francisco.

Choral at Cadogan: The Tallis Scholars open a new season

As The Tallis Scholars processed onto the Cadogan Hall platform, for the opening concert of this season’s Choral at Cadogan series, there were some unfamiliar faces among its ten members - or faces familiar but more usually seen in other contexts.

Stars of Lyric Opera 2017, Millennium Park, Chicago

As a prelude to the 2017-18 season Lyric Opera of Chicago presented its annual concert, Stars of Lyric Opera at Millennium Park, during the last weekend. A number of those who performed in this event will be featured in roles during the coming season.

Die Zauberflöte at the ROH: radiant and eternal

Watching David McVicar’s 2003 production of Die Zauberflöte at the Royal Opera House - its sixth revival - for the third time, I was struck by how discerningly John MacFarlane’s sumptuous designs, further enhanced by Paule Constable’s superbly evocative lighting, communicate the dense and rich symbolism of Mozart’s Singspiel.

Fantasy in Philadelphia: The Wake World

Composer and librettist David Hertzberg’s magical mystery tour that is The Wake World opened to a cheering sold out audience that was clearly enraptured with its magnificent artistic achievement.

A Mysterious Lucia at Forest Lawn

On September 10, 2017, Pacific Opera Project (POP) presented Gaetano Donizetti’s Lucia di Lammermoor in a beautiful outdoor setting at Forest Lawn. POP audiences enjoy casual seating with wine, water, and finger foods at each table. General and Artistic Director Josh Shaw greeted patrons in a “blood stained” white wedding suit. Since Lucia is a Scottish opera, it opened with an elegant bagpipe solo calling members of the audience to their seats.

This is Rattle: Blazing Berlioz at the Barbican Hall

Blazing Berlioz' The Damnation of Faust at the Barbican with Sir Simon Rattle, Bryan Hymel, Christopher Purves, Karen Cargill, Gabor Bretz, The London Symphony Orchestra and The London Symphony Chorus directed by Simon Halsey, Rattle's chorus master of choice for nearly 35 years. Towards the end, the Tiffin Boys' Choir, the Tiffin Girls' Choir and Tiffin Children's Choir (choirmaster James Day) filed into the darkened auditorium to sing The Apotheosis of Marguerite, their voices pure and angelic, their faces shining. An astonishingly theatrical touch, but absolutely right.

Moved Takes on Philadelphia Headlines

There‘s a powerful new force in the opera world and its name is O17.

Philly Flute’s Fast and Furious Frills

If you never thought opera could make your eyes cross with visual sensory over load, you never saw Opera Philadelphia’s razzle-dazzle The Magic Flute.

At War With Philadelphia

Enterprising Opera Philadelphia has included a couple of intriguing site-specific events in their O17 Festival line-up.

The Mozartists at the Wigmore Hall

Three years into their MOZART 250 project, Classical Opera have launched a new venture, The Mozartists, which is designed to allow the company to broaden its exploration of the concert and symphonic works of Mozart and his contemporaries.

OPERA TODAY ARCHIVES »

Performances

Portrait of Benvenuto Cellini 1822
06 Jun 2014

Hector Berlioz: Benvenuto Cellini

First, a sigh of relief: in almost every respect, this new ENO staging of Benvenuto Cellini marks a significant improvement

Hector Berlioz: Benvenuto Cellini

A review by Mark Berry

Above: Portrait of Benvenuto Cellini 1822

 

upon Terry Gilliam’s ‘Springtime for Hitler’ Damnation of Faust. If that sounds like faint praise, for beating a ‘Holocaust as entertainment’ travesty is perhaps setting the bar unreasonably low, then such is not entirely the intention. Gilliam’s Cellini has its virtues, though for me they are considerably fewer than they seemed to be for the audience at large. It is far from unreasonable to depict anarchy and ribaldry in the Carnival, and indeed during the ‘carnival’ overture — though Gilliam’s reported remark that ten minutes of music are ‘too long for the audience to sit through waiting for the show to begin’ are unworthy of anyone working in opera. There is nothing wrong in principle with ‘staging’ an overture, but the reason should be better than that; if the results are a little over the top, they are certainly superior to the justification.

And yet… here and in the Carnival itself we also experience the main problem: Gilliam’s seeming inability to trust Berlioz’s opera, an infinitely more successful work than ignorant ‘criticism’ will suggest. Yes, there is excess, even at times an excess of excess, in Berlioz’s work, but what I suspect Gilliam’s fans will applaud as ‘wackiness’, be it the director’s or the composer’s, is far from the only or indeed the most important facet of the opera. Despite the handsome, splendidly adaptable Piranesi-inspired designs, the plentiful coups de théâtre, the impressive collaboration of set design and video for the forging, etc., etc., what matters most of all — Berlioz’s score and, more broadly, his musical drama — often seems forgotten. Perhaps that also explains the unaccountable cuts, which serve to exacerbate alleged ‘weaknesses’ — many of which turn out to be deviations from the operatic norm — instead of mitigating them.

Matters improve considerably after the interval, and there is a genuine sense of dark, nocturnal desperation to the foundry and surroundings at dawn on Ash Wednesday (though there was, admittedly, little sense of the significance or even the coming of that day of mortification). Much of the first act, by contrast, is overbearing and in serious need of clarification. Yes, by all means harness spectacle as a tool of drama, but too often it runs riot in an unhelpful sense; it also encourages a large section of the audience to guffaw, applaud, chatter, make other, apparently unclassifiable, noises, often to the extent that one cannot hear the music. I could not help but think that a smaller budget would have removed a good number of excessive temptations and resulted in something less perilously close to a West End musical. There are the germs, and sometimes rather more than that, of something much better here, but those ‘editing’ Berlioz perhaps themselves stand in need of an editor. The updating to what would appear to be more or less the time of composition, perhaps a little later, does no harm; indeed, it proves generally convincing.

Edward Gardner’s conducting of the first act was disappointing, the Overture, insofar as it could be heard, setting out the conductor’s stall unfortunately: excessive drive followed by excessive relaxation. Wild contrasts are part of what Berlioz’s music demands, of course, but there still needs to be something that connects. Throughout, there were many occasions once again to mourn the loss of Sir Colin Davis, whose 2007 LSO concert performance of this work was simply outstanding. The orchestra proved impressively responsive, though, and, once both Gardner and Gilliam had somewhat calmed down, truly came into its own, sounding as the fine ensemble that it undoubtedly is. Gardner is rarely a conductor to probe beneath the surface, but as musical execution, there was a good deal to savour following the (protracted) interval. Choral singing — and blocking — were more or less beyond reproach, a credit to chorus master Nicholas Jenkins and Gilliam’s team alike, as well of course as to the singers themselves.

Michael Spyres performed impressively in the sadistically difficult title role, there being but a single example, quickly enough corrected, of coming vocally unstuck. His stage swagger seemed true to Gilliam’s conception, and his vocal style — insofar as one can tell, in English translation — was keenly attuned to that of Berlioz. A few ‘veiled’ moments notwithstanding, especially later on in the first act, Corinne Winters impressed equally as Teresa. ‘Entre l’amour et le devoir’ could hardly have been more cleanly sung in the most exacting of aural imaginations. Nicholas Pallesen revealed himself to be a thoughtful and at times impassioned baritone as Fieramosca, though Pavlo Hunka’s Balducci sounded thin and generally out of sorts. Despite Willard White’s undeniable stage presence, his appearance as the Pope did little to dispel suspicions that, sadly, his voice is now increasingly fallible. Paula Murrihy, however, proved an excellent Ascanio: characterful and attractive of tone in equal measure. There were few grounds for complaint from the ‘smaller’ roles either.

ENO’s description of this opéra semi-seria as a ‘romantic comedy’ is puzzling. It is, to be fair fair to Gilliam and all those involved, a description that stands at some distance from their vision too. An opéra comique was originally Berlioz’s conception, but that is a matter of form rather than of sentimentality. We should doubtless be grateful that we were spared a ‘heart-warming’ Richard Curtis version. Nor does it help, of course, that we are subjected to an English translation, which inevitably sounds ‘wrong’ for Berlioz, especially when so apparently deaf to musical line and cadence as this present version. If only ENO would reconsider its stance on a once vexed question, now resolved by the use of surtitles, it could truly transform its fortunes.

Mark Berry


Cast and production information:

Benvenuto Cellini: Michael Spyres; Giacomo Balducci: Pavlo Hunka; Teresa: Corinne Winters; Fieramosca: Nicholas Pallesen; Pope Clement VII: Sir Willard White; Ascanio: Paula Murrihy; Francesco: Nicky Spence; Bernardino: David Soar; Pompeo: Morgan Pearse; Innkeeper: Anton Rich. Director: Terry Gilliam; Co-director, movement: Leah Hausmann ; Set designs: Terry Gilliam and Aaron Marsden; Costumes: Katrina Lindsay; Video: Finn Ross. Chorus of the English National Opera (chorus master: Nicholas Jenkins)/Orchestra of the English National Opera/Edward Gardner (conductor). Coliseum, London, Thursday 5 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):