Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

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.

Arizona Opera Ends Season in Fine Style with Fille du Régiment

On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.

Il turco in Italia, Royal Opera

This second revival of Patrice Caurier and Moshe Leiser’s 2005 production of Rossini’s Il Turco in Italia seems to have every going for it: excellent principals comprising experienced old-hands and exciting new voices, infinite gags and japes, and the visual éclat of Agostino Cavalca’s colour-bursting costumes and Christian Fenouillat’s sunny sets which evoke the style, glamour and ease of La Dolce Vita.

The Siege of Calais
——
The Wild Man of the West Indies

English Touring Opera’s 2015 Spring Tour is audacious and thought-provoking. Alongside La Bohème the company have programmed a revival of their acclaimed 2013 production of Donizetti’s The Siege of Calais (L’assedio di Calais) and the composer’s equally rare The Wild Man of the West Indies (Il furioso all’isola di San Domingo).

The Met’s Lucia di Lammermoor

Mary Zimmerman’s still-fresh production is made fresher still by Shagimuratova’s glimmering voice, but the acting disappoints

Voices, voices in space, and spaces: Thoughts on 50 years of Meredith Monk

When WNYC’s John Schaefer introduced Meredith Monk’s beloved Panda Chant II, which concluded the four-and-a-half hour Meredith Monk & Friends celebration at Carnegie’s Zankel Hall, he described it as “an expression of joy and musicality” before lamenting the fact that playing it on his radio show could never quite compete with a live performance.

St. John Passion by Soli Deo Gloria, Chicago

This year’s concert of the Chicago Bach Project, under the aegis of the Soli Deo Gloria Music Foundation, was a presentation of the St. John Passion (BWV 245) at the Harris Theater in Millennium Park.

Fedora in Genoa

It is not an everyday opera. It is an opera that illuminates a larger verismo history.

The Marriage of Figaro, LA Opera

On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.

The Tempest Songbook, Gotham Chamber Opera

Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to explore the possibilities of unconventional spaces and unconventional programs that the company has made its hallmark. The results were musically and theatrically thought-provoking, and left me wanting more.

San Diego Opera presents Adams’ Riveting Nixon in China

Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.

Ars Minerva presents Castrovillari’s La Cleopatra in San Francisco

It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.

An Ideal Cast in Chicago’s Tannhäuser

Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.

Madame Butterfly, Royal Opera

Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.

Tosca in Marseille

Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.

Poetry beyond words — Nash Ensemble, Wigmore Hall

The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.

Arizona Opera Presents Magritte Style Magic Flute

On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.

Henry Purcell: A Retrospective

There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.

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):