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

MOZART 250: the year 1767

Classical Opera’s MOZART 250 project has reached the year 1767. Two years ago, the company embarked upon an epic, 27-year exploration of the music written by Mozart and his contemporaries exactly 250 years previously. The series will incorporate 250th anniversary performances of all Mozart’s important compositions and artistic director Ian Page tells us that as 1767 ‘was the year in which Mozart started to write more substantial works - opera, oratorio, concertos … this will be the first year of MOZART 250 in which Mozart’s own music dominates the programme’.

Monteverdi, Masters and Poets - Imitation and Emulation

‘[T]hey moderated or increased their voices, loud or soft, heavy or light according to the demands of the piece they were singing; now slowing, breaking of sometimes with a gentle sigh, now singing long passages legato or detached, now groups, now leaps, now with long trills, now with short, or again, with sweet running passages sung softly, to which one sometimes heard an echo answer unexpectedly. They accompanied the music and the sentiment with appropriate facial expressions, glances and gestures, with no awkward movements of the mouth or hands or body which might not express the feelings of the song. They made the words clear in such a way that one could hear even the last syllable of every word, which was never interrupted or suppressed by passages or other embellishments.’

Visionary Wagner - The Flying Dutchman, Finnish National Opera

An exceptional Wagner Der fliegende Holländer, so challenging that, at first, it seems shocking. But Kasper Holten's new production, currently at the Finnish National Opera, is also exceptionally intelligent.

Don Quichotte at Chicago Lyric

A welcome addition to Lyric Opera of Chicago’s roster was its recent production of Jules Massenet’s Don Quichotte.

Written on Skin: Royal Opera House

800 years ago, every book was a precious treasure - ‘written on skin’. In George Benjamin’s and Martin Crimp’s 2012 opera, Written on Skin, modern-day archivists search for one such artefact: a legendary 12th-century illustrated vanity project, commissioned by an unnamed Protector to record and celebrate his power.

Madama Butterfly at Staatsoper im Schiller Theater

It was like a “Date Night” at Staatsoper unter den Linden with its return of Eike Gramss’ 2012 production of Puccini’s Madama Butterfly. While I entered the Schiller Theater, the many young couples venturing to the opera together, and emerging afterwards all lovey-dovey and moved by Puccini’s melodramatic romance, encouraged me to think more positively about the future of opera.

It’s the end of the world as we know it: Hannigan & Rattle sing of Death

For the Late Night concert after the Saturday series, fifteen Berliners backed up Barbara Hannigan in yet another adventurous collaboration on a modern rarity with Simon Rattle. I was completely unfamiliar with the French composer, but the performance tonight made me fall in love with Gérard Grisey’s sensually disintegrating soundscape Quatre chants pour franchir le seuil, or “Fours Songs to cross the Threshold”.

A Vocally Extravagant Saturday Night with Berliner Philharmoniker

One of the things I love about the Philharmonie in Berlin, is the normalcy of musical excellence week after week. Very few venues can pull off with such illuminating star wattage. Michael Schade, Anne Schwanewilms, and Barbara Hannigan performed in two concerts with two larger-than-life conductors Thielemann and Rattle. We were taken on three thrilling adventures.

Les Troyens at Lyric Opera of Chicago

Lyric Opera of Chicago’s original and superbly cast production of Hector Berlioz’s Les Troyens has provided the musical public with a treasured opportunity to appreciate one of the great operatic achievements of the nineteenth century.

Merry Christmas, Stephen Leacock

The Little Opera Company opened its 21st season by championing its own, as it presented the world premiere of Winnipeg composer Neil Weisensel’s Merry Christmas, Stephen Leacock.

A Christmas Festival: La Nuova Musica at St John's Smith Square

Now in its 31st year, the 2016 Christmas Festival at St John’s Smith Square has offered sixteen concerts performed by diverse ensembles, among them: the choirs of King’s College, London and Merton College, Oxford; Christchurch Cathedral Choir, Oxford; The Gesualdo Six; The Cardinall’s Musick; The Tallis Scholars; the choirs of Trinity College and Clare College, Cambridge; Tenebrae; Polyphony and the Orchestra of the Age of the Enlightment.

Fleming's Farewell to London: Der Rosenkavalier at the ROH

As 2016 draws to a close, we stand on the cusp of a post-Europe, pre-Trump world. Perhaps we will look back on current times with the nostalgic romanticism of Richard Strauss’s 1911 paean to past glories, comforts and certainties: Der Rosenkavalier.

Loft Opera’s Macbeth: Go for the Singing, Not the Experience

Ah, Loft Opera. It’s part of the experience to wander down many dark streets, confused and lost, in a part of Brooklyn you’ve never been. It is that exclusive—you can’t even find the performance!

A clipped Walküre in Amsterdam

Let’s start by getting a couple of gripes out of the way. First, the final act of Die Walküre does not constitute a full-length concert, even with a distinguished cast and orchestra, and with animated drawings fluttering on a giant screen.

A Leonard Bernstein Delight

When you combine two charismatic New York stage divas with the artistry of Los Angeles Opera, you have a mix that explodes into singing, dancing and an evening of superb entertainment.

An English Winter Journey

Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.

History Repeating Itself: Prokofiev’s Semyon Kotko, Amsterdam Concertgebouw

A historical afternoon at the NTR Saturday Matinee occurred with an epic concert version of Prokofiev’s Soviet Opera Semyon Kotko.

L’amour de loin at the Metropolitan Opera

Opening night at the Metropolitan is a gleeful occasion even when the composer is long gone, but December 1st was an opening for a living composer who has been making waves around the world and is, gasp, a woman — the second woman composer ever to have an opera presented at the Met.

La finta giardiniera at the Royal College of Music

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’.

Lust for Revenge: Barenboim and Herlitzius fire up Strauss’s Elektra in Berlin

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.

OPERA TODAY ARCHIVES »

Performances

Sophie Koch as Mother Marie [Photo © ROH / Stephen Cummiskey]
02 Jun 2014

Dialogues des Carmélites, Royal Opera

A black bare stage heaving with a rebellious revolutionary throng; they stare with still hostility directly at the audience, stark light streaming from above.

Dialogues des Carmélites, Royal Opera

A review by Claire Seymour

Above: Sophie Koch as Mother Marie

Photos © ROH / Stephen Cummiskey

 

A scene from Boublil’s and Schönberg’s Les Misérables? No. The opening moments of Robert Carsen’s much-acclaimed production of Poulenc’s opera of courage, cruelty and redemption.

In need of some insurgent sans culottes, Carsen has (in partnership with an unlikely alliance of Streetwise Opera, Synergy Theatre Project, the Department for Work and Pensions, and the Royal Central School of Speech and Drama) supplemented his already large cast with a 67-strong ‘Community Ensemble’. Comprising those who ‘have experienced homelessness, the criminal justice system and long-term unemployment, as well as those studying drama and theatre in learning and community settings’, this massed crowd convincingly represents an oppressed, insurrectionary populace. Meticulously choreographed by Movement Director Philippe Giraudeau, they form a silent congregation of collective dissatisfaction and unrest — a palpable incarnation of menace and terror.

Dialogues des Carmélites presents a ‘true story’, recorded by a Carmelite nun, Sister Marie of the Incarnation, who survived the French Revolution. Her account of persecution and piety was subsequently presented in various forms by the German novelist, Gertrud von Le Fort and the playwright Georges Bernanos, and also adapted in a scenario by Philippe Agostini and the Rev. Bruckberger — the complex lineage being further knotted by the fact that writer Emmet Lavery had purchased the exclusive rights to Bernanos’ drama, causing Poulenc considerable difficulty when he sought to adapt his own libretto from Bernanos’ play.

PR8A0247.gifSally Matthews as Blanche

Despite the nonchalant indifference of her father, the Marquis de la Force, the young Blanche de la Force fears the mounting anarchic fervour in Revolutionary Paris; convincing the Carmelite Prioress of her vocation, she takes refuge in a convent but — despite the reputed protection of the Blessed Virgin — it rapidly becomes apparent that the cloistered walls are no safeguard against radical remonstration. The faith of the devout is tested, and the ultimate sacrifice is demanded.

Carsen’s production, designed for Netherlands Opera in 1997, has been widely seen and greatly admired worldwide in the years since; given that Dialogues des Carmélites has not graced the ROH stage since 1983, and that Sir Simon Rattle was scheduled to lead a fine cast of soloists (several of whom had previously performed roles in the 2008 revival at Theater an der Wien), one can understand the excitement and expectation surrounding the arrival of the production in London at last.

In many ways, it lives up to the hype. The minimalist staging is arresting and Carsen offers some powerful directorial gestures which are complemented by Jean Kalman’s expressionistic lighting; the latter provides many ravishing, and fearsome, moments. The soloist excel. And, Rattle clearly knows and loves this score: the brass play with purity and restraint in the chorale-like passages, and Rattle creates an iridescent sound-world in which glistening harps ripple and luscious strings surge in rapture, coloured by silky woodwind slithers, but one which is also ominously punctuated by shuddering, jagged rhythmic bursts of terror and brutality. The percussive slashes of the final march to the scaffold reveal the full unleashed force of the Royal Opera House Orchestra.

Yet, despite Rattle’s care and attention — and Carsen’s imaginative faithfulness to the composer’s reputed preference for stagings which adopt a monastic austerity — there is no getting away from the fact that the score is dominated by an ever-repeating two-bar progression, in various harmonic inversions and timbral colourings, an infinite chain which becomes increasingly more wearisome and which makes it difficult to establish and sustain any driving musico-dramatic direction. Typical of the nature of Poulenc’s idiom is the terrifyingly moving final scene, which is underpinned by a rocking minor third; it is the raw rip of the slicing guillotine which provides the drama, rather than any harmonic conflict.

PR8A0495.gifEmma Bell as Madame Lidoine

One cannot deny that there are moments of musical exhilaration and stunning dramatic frisson — the Father Confessor (Alan Oke) devoutly leading the doomed nuns in a last prayer; Blanche, in fear and hysteria forebodingly dropping the statue of the Infant Christ. When the Revolutionary forces finally confiscate the nuns’ Carmélite habits, there is a gripping encounter between Blanche (Sally Matthews), who has now fled the cloister in dread, and Mother Marie (Sophie Koch), who tries to convince her to return to save her soul. So, there is thus much gripping theatre; but it doesn’t feel like music-drama, and there are some scenes where Poulenc overly draws things out. At times Carsen’s direction emphasises this ‘static’ quality, the crowded tableaux serving like photographs or freeze frames out of which the principals step for momentary, self-contained dramas.

There is, however, still much to relish. Carsen’s production has a stark beauty: the bare stage is adorned with just a chair, some wooden trellises, a white-draped bed. The monochrome simplicity is intermittently lit in chiaroscuro, the gothic silhouettes which loom suddenly upon the black back walls suggesting the terrible menace of the mob beyond. Streaks of light and colour occasionally animate the darkness, communicating mood and meaning. Reserved for the aristocrats, the regal red velvet and heraldic purple silk of the opening scene emphasises the irreconcilable chasm between those within the chateau walls and those on the streets beyond.

Attired pre-Carmélite vows in a sumptuous ivory gown, Sally Matthews visually embodied the ‘Power of innocence’ that her name, Blanche de la Force, implies. And, while she was rather tremulous in the middle range, Matthews produced a bright clarity at the top when Blanche succumbs to her fears. She seemed, however, to lack an innate feeling for Poulenc’s limpid idiom and the soprano’s French diction was poor — although she was certainly not alone among the cast in this regard.

Blanche’s companion and confidante, Sister Constance, was sung with charm and vivacity by Anna Prohaska, capturing all of the independent-minded nun’s eccentricities and vigour. Prohaska brought a beguiling tenderness to the erratic nun’s passionate temperament. As Mother Marie of the Incarnation Sophie Koch was superb, consistently an authoritative musical and theatrical presence; luminous of voice, Koch also has the power to convey the Assistant Prioress’s steely centre and religious intensity, and her absence from the final scene was as moving as the tragic fates which await those who are present.

Emma Bell, as Madame Lidoine, the second Prioress, was also full of voice, and Deborah Polaski offered a deeply committed cameo as the dying Madame de Croissy. This Prioress was certainly not going quietly, raging frantically against death and life — if anything one would have liked even more vocal ugliness to scar the lyrical fervency. Even if one shares the initial reluctance to embrace the spirit of voluntary mass martyrdom felt by Blanche (for personal reasons) and Madame Lidoine (for doctrinal motives), and feels rather removed from the self-abnegations of institutional cloisters and the spirit of Catholic obedience and devotion which might inspire mass martyrdom, this was the visceral stuff of life and death.

Amid the multitude of female voices there were also strong performances by the men, despite the indisposition of Alan Oke — who nevertheless was a dignified Father Confessor — and Yann Beuron, who was replaced as Blanche’s brother, Chevalier de la Force, by Jette Parker Young Artist Luis Gomez in Act 2. Gomez sang with full-throated passion in a striking confrontation between the siblings, as the Chevalier tries to persuade his sister to flee with him to safety. Thomas Allen (Marquis de la Force), Neil Gillespie (the valet Thierry) and John Bernays (the physician Monsieur Javelinot) all made effective, if brief, contributions.

One problem with Poulenc’s libretto is that there is little sense of the nuns as individuals, no information about their lives before they have made their commitment to God: instead, they maintain their ubiquitous — and rather distancing — chant-like serenity to the last. In the shocking final scene, clothed in pure white underdresses, the condemned nuns slowly succumb to guillotine, their outstretched arms an icon of mankind’s ultimate sin and grace. The choric voice gradually diminishes. As the Salve Regina floats heavenwards, we are reminded of Carsen’s opening image: neatly folded habits arrayed decorously across the stage. We now understand that, swathed in silver light, they were a foreshadowing of the redemption and transcendence to come. With this closing intimation of resurrection Carsen offers his final masterstroke.

Claire Seymour


Cast and production information:

Blanche, Sally Matthews; Constance, Anna Prohaska; Madame Lidoine, Emma Bell; Mère Marie, Sophie Koch; Madame de Croissy, Deborah Polaski; Marquis de la Force, Thomas Allen; Chevalier de la Force, Yann Beuron; Mother Jeanne, Elizabeth Sikora; Sister Mathilde, Catherine Carby; Father Confessor, Alan Oke; First Commissary, David Butt Philip; Second Commissary, Michel de Souza; First Officer, Ashley Riches; Gaoler, Craig Smith; M. Javelinot, John Bernays; Thierry, Neil Gillespie.

Director, Robert Carsen; Conductor, Simon Rattle; Set designs, Michael Levine; Costume designs, Falk Bauer; Lighting design, Jean Kalman; Movement, Philippe Giraudeau; Orchestra of the Royal Opera House; Royal Opera Chorus. Royal Opera House, Covent Garden, London, Thursday 29th May 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):