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
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.
David Little composed his one-man opera, Soldier Songs, ten years ago and the International Festival of Arts & Ideas of New Haven, Connecticut, premiered it in 2011. At San Diego Opera, the fifty-five minute musical presentation and the “Talk Back” that followed it were part of the Shiley dētour Series which is held in the company’s smaller venue, the historic Balboa Theatre.
On Saturday evening November 12, 2016, Pacific Opera Project presented Gioachino Rossini’s comic opera The Barber of Seville in an updated version that placed the action in Hollywood. It was sung in the original Italian but the translation seen as supertitles was specially written to match the characters’ Hollywood identities.
A Butterfly for the ages in a Butterfly marred by casting ineptness and lugubrious conducting.
First, a sigh of relief: in almost every respect, this new ENO staging of Benvenuto Cellini marks a significant improvement
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.
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.