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

Stockhausen’s STIMMUNG and COSMIC PULSES at the Barbican.

This concert was an event on several levels - marking a decade since the death of Stockhausen, the fortieth anniversary (almost to the day) since Singcircle first performed STIMMUNG (at the Round House), and their final public performance of the piece. It was also a rare opportunity to hear (and see) Stockhausen’s last completed purely electronic work, COSMIC PULSES - an overwhelming visual and aural experience that anyone who was at this concert will long remember.

Nico Muhly's Marnie at ENO

Winston Graham’s 1961 novel Marnie was bold for its time. Its themes of sexual repression, psychological suspense and criminality set within the dark social fabric of contemporary Britain are but outlier themes of the anti-heroine’s own narrative of deceit, guilt, multiple identities and blackmail.

TOSCA: A Dramatic Sing-Fest

On November 12, 2017, Arizona Opera presented Giacomo Puccini’s verismo opera, Tosca, in a dramatic production directed by Tara Faircloth. Her production utilized realistic scenery from Seattle Opera and detailed costumes from the New York City Opera. Gregory Allen Hirsch’s lighting made the set look like the church of St. Andrea as some of us may have remembered it from time gone by.

The Lighthouse: Shadwell Opera at Hackney Showroom

‘Only make the reader’s general vision of evil intense enough … and his own experience, his own imagination, his own sympathy … and horror … will supply him quite sufficiently with all the particulars. Make him think the evil, make him think it for himself, and you are released from weak specifications.’

Elisabeth Kulman sings Mahler's Rückert-Lieder with Sir Mark Elder and the Britten Sinfonia

Austrian singer Elisabeth Kulman has had an interesting career trajectory. She began her singing life as a soprano but later shifted to mezzo-soprano/contralto territory. Esteemed on the operatic stage, she relinquished the theatre for the concert platform in 2015, following an accident while rehearsing Tristan.

Tremendous revival of Katie Mitchell's Lucia at the ROH

The morning sickness, miscarriage and maundering wraiths are still present, but Katie Mitchell’s Lucia di Lammermoor, receiving its first revival at the ROH, seems less ‘hysterical’ this time round - and all the more harrowing for it.

Manon in San Francisco

Nothing but a wall and a floor (and an enormous battery of unseen lighting instruments) and two perfectly matched artists, the Manon of soprano Ellie Dehn and the des Grieux of tenor Michael Fabiano, the centerpiece of Paris’ operatic Belle Époque found vibrant presence on the War Memorial stage.

A beguiling Il barbiere di Siviglia from GTO

I had mixed feelings about Annabel Arden’s production of Il barbiere di Siviglia when it was first seen at Glyndebourne in 2016. Now reprised (revival director, Sinéad O’Neill) for the autumn 2017 tour, the designs remain a vibrant mosaic of rich hues and Moorish motifs, the supernumeraries - commedia stereotypes cum comic interlopers - infiltrate and interact even more piquantly, and the harpsichords are still flying in, unfathomably, from all angles. But, the drama is a little less hyperactive, the characterisation less larger-than-life. And, this Saturday evening performance went down a treat with the Canterbury crowd on the final night of GTO’s brief residency at the Marlowe Theatre.

Brett Dean's Hamlet: GTO in Canterbury

‘There is no such thing as Hamlet,’ says Matthew Jocelyn in an interview printed in the 2017 Glyndebourne programme book. The librettist of Australian composer Brett Dean’s opera based on the Bard’s most oft-performed tragedy, which was premiered to acclaim in June this year, was noting the variants between the extant sources for the play - the First, or ‘Bad’, Quarto of 1603, which contains just over half of the text of the Second Quarto which published the following year, and the First Folio of 1623 - no one of which can reliably be guaranteed superiority over the other.

WNO's Russian Revolution series: the grim repetitions of the house of the dead

‘We lived in a heap together in one barrack. The flooring was rotten and an inch deep in filth, so that we slipped and fell. When wood was put into the stove no heat came out, only a terrible smell that lasted through the winter.’ So wrote Dostoevsky, in a letter to his brother, about his experiences in the Siberian prison camp at Omsk where he was incarcerated between 1850-54, because of his association with a group of political dissidents who had tried to assassinate the Tsar. Dostoevsky’s ‘house of the dead’ is harrowingly reproduced by Maria Björsen’s set - a dark, Dantesque pit from which there is no possibility of escape - for David Pountney’s 1982 production of Janáček’s final opera, here revived as part of Welsh National Opera’s Russian Revolution series.

The 2017 Glyndebourne Tour arrives in Canterbury with a satisfying Così fan tutte

A Così fan tutte set in the 18th century, in Naples, beside the sea: what, no meddling with Mozart? Whatever next! First seen in 2006, and now on its final run before ‘retirement’, Nicholas Hytner’s straightforward account (revived by Bruno Ravella) of Mozart’s part-playful, part-piquant tale of amorous entanglements was a refreshing opener at the Marlowe Theatre in Canterbury where Glyndebourne Festival Opera arrived this week for the first sojourn of the 2017 tour.

Richard Jones's Rodelinda returns to ENO

Shameless grabs for power; vicious, self-destructive dynastic in-fighting; a self-righteous and unwavering sense of entitlement; bruised egos and integrity jettisoned. One might be forgiven for thinking that it was the current Tory government that was being described. However, we are not in twenty-first-century Westminster, but rather in seventh-century Lombardy, the setting for Handel’s 1725 opera, Rodelinda, Richard Jones’s 2014 production of which is currently being revived at English National Opera.

Amusing Old Movie Becomes Engrossing New Opera

Director Mario Bava’s motion picture, Hercules in the Haunted World, was released in Italy in November 1961, and in the United States in April 1964. In 2010 composer Patrick Morganelli wrote a chamber opera entitled Hercules vs. Vampires for Opera Theater Oregon.

Rigoletto at Lyric Opera of Chicago

If a credible portrayal of the title character in Giuseppe Verdi’s Rigoletto is vital to any performance, the success of Lyric Opera of Chicago’s current, exciting production hinges very much on the memorable court jester and father sung by baritone Quinn Kelsey.

Wexford Festival Opera 2017

‘What’s the delay? A little wind and rain are nothing to worry about!’ The villagers’ indifference to the inclement weather which occurs mid-way through Jacopo Foroni’s opera Margherita - as the townsfolk set off in pursuit of two mystery assailants seen attacking a man in the forest - acquired an unintentionally ironic slant in Wexford Opera House on the opening night of Michael Sturm’s production, raising a wry chuckle from the audience.

The Genius of Purcell: Carolyn Sampson and The King's Consort at the Wigmore Hall

This celebration of The Genius of Purcell by Carolyn Sampson and The King’s Consort at the Wigmore Hall was music-making of the most absorbing and invigorating kind: unmannered, direct and refreshing.

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.

OPERA TODAY ARCHIVES »

Performances

12 Jul 2014

Nabucco at Orange

The acoustic of the gigantic Théâtre Antique Romain at Orange cannot but astonish its nine thousand spectators, the nearly one hundred meter breadth of the its proscenium inspires awe. There was excited anticipation for this performance of Verdi’s first masterpiece.

Nabucco at the Chorégies d'Orange

A review by Michael Milenski

Above: Dimitry Beloselskiy as Zaccaria, Karine Deshayes as Fenena. [Photo by Photos Abadee]

 

It was a production by Jean-Paul Scarpitta who was stage director and scenery and costume designer. Mr. Scarpitta’s dramaturgy is informed by his fascinations for Giorgio Strehler and Robert Wilson from which many wonderful stagings have resulted during his ten year residency in Montpellier.

There was promise in the air, the breadth of the raked stage (300 feet wide, 60 feet deep) was covered in a black asphalt-like substance, the mostly intact, imposing scaenae frons (back wall of the theater) was bare, overseen from high above by the massive sculpture of the Emperor Augustus. The revelation of the evening was the lighting of the black floor by Urs Schônebaum, its enormous shiny, rough surface shone in a myriad of intensities for the huge exterior scenes, sometimes it was reduced to a brilliant square of white light to frame a singer (Nabucco’s intensely personal “Son pur queste mie membra”), other times strong directional side light cast enormous, elongated shadows across the stage that deepened emotional relationships (the Act I confrontation of Abigail with the lovers Fenena and Ismaele).

Scapitta’s staging of Verdi’s early masterpiece was sabotaged often by the video projections on the back wall. After an initial appreciation of the technical feat of accomplishing such massive projections (ranging from discretely deployed white-lighted, descending emotional shapes to the ugly, yellow-ish, sprayed styrofoam image that covered the entire back wall for the palace interior scenes) the projections became distractions to the accomplishments of the singers and lights on the black floor.

Nabucco_Orange2.pngGeorge Gagnizde as Nabucco, Maria Serafin as Abigail

Mr. Scarpita is a musical stage director, his actors moved more by musical line and musical structural rather than by dramatic motivation. Here too he was sabotaged, now by singers who were read as static lumps of color rather than as the excited singers responding to the young Verdi whose Nabucco revealed his genius for the first time.

Veteran Georgian baritone George Gagnizde made some big sounds in a strong entrance but soon fell into an almost lieder-like performance by a bored singer. Veteran Austrian soprano Maria Serafin, a noted Tosca, no longer has the bloom of voice and perhaps never had the agility of voice to create a vibrant Abigail, a character Verdi created to tear-up-the-stage vocally and dramatically.

Younger members of the cast were more effective. French mezzo-soprano Karine Deshayes made a low key Fenena that conveyed a static presence and personality in her monochrome rose costume. Italian tenor Piero Pretti sang a stylish Ismaele and moved gracefully.

Nabucco_Orange3.png Dimitry Beloselskiy as Zaccaria, Karine Deshayes as Fenena.

The opera is however about Nabucco and Abigail, not Fenena and Ismaele. Russian bass Dimitry Beloselskiy made it about the Jewish high priest Zaccaraia as well. This fine young bass found the voice and presence to make his role the biggest performance of the evening. Unfortunately his performance was sabotaged by his costume, a white robe covered by black lightning bolt-like (sort of) shapes. While the powerful shapes on the costume sought to embody a force of divine strength they instead made his exhortations seem decorative rather than dramatic.

The costumes of the chorus were always identical, creating giant blocks of color on the stage, mostly static swathes of color that in theory (and if they were far larger) might have become a pedal-point musical color. The problem of how to move these blocks of color onto and off of the stage was never overcome. An additional scenic impulse backfired — thirty or so spear carrying Babylonian warrior extras wearing only loin clothes. Had these stalwart young Orangeois been clothed they might have seemed handsome and strong. Semi-nude they exposed a variety of shapes and postures that cried out for prosthetic chests.

The sight lines from the cavea (the tiered seating) of the Théâtre Antique makes the orchestra (seated in the “orchestra” of a Roman theater) a visually important part of the field of vision. This presence together with the fine acoustic of the theater leaves the orchestra as exposed as a solo singer on the stage. Here the unforgiving acoustic revealed the weaknesses of the Orchestre National de Montpellier, particularly the winds, The sound of the orchestra itself lacked the finesse expected of a fine French orchestra.

The conducting of veteran Israeli maestro Pinchas Steinberg did not come near the intense excitement that Verdi had found within himself for opera as a patriotic art form, nor for the new styles of vocal virtuosity that Verdi asked of his singers. Even “Va pensiero” came across as little more than a self-conscious hum along.

And what about the lighted, window onto upstage stage center from back stage that was left uncovered? Its light and passing figures fouled the stage picture of anyone sitting in Section 4. Is there no one home at the Chorégies?

Michael Milenski


Casts and production information:

Abigaïlle: Martina Serafin; Fenena: Karine Deshayes; Anna; Marie-Adeline Henry; Nabucco: George Gagnidze; Zaccaria: Dmitry Belosselskiy; Ismaele: Piero Pretti; Il Gran Sacerdote di Belo: Nicolas Courjal; Abdallo: Luca Lombardo. Orchestre National Montpellier Languedoc-Roussillon. Choruses of the opera companies of Nice, Montpellier, Avignon and Toulon. Conductor: Pinchas Steinberg. Mise en scène, scenery and costumes: Jean-Paul Scarpitta; Lighting: Urs Schönebaum. Théâtre Antique Romain, Orange, France, July 9, 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):