Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

ETO Autumn 2020 Season Announcement: Lyric Solitude

English Touring Opera are delighted to announce a season of lyric monodramas to tour nationally from October to December. The season features music for solo singer and piano by Argento, Britten, Tippett and Shostakovich with a bold and inventive approach to making opera during social distancing.

Love, always: Chanticleer, Live from London … via San Francisco

This tenth of ten Live from London concerts was in fact a recorded live performance from California. It was no less enjoyable for that, and it was also uplifting to learn that this wasn’t in fact the ‘last’ LfL event that we will be able to enjoy, courtesy of VOCES8 and their fellow vocal ensembles (more below …).

Dreams and delusions from Ian Bostridge and Imogen Cooper at Wigmore Hall

Ever since Wigmore Hall announced their superb series of autumn concerts, all streamed live and available free of charge, I’d been looking forward to this song recital by Ian Bostridge and Imogen Cooper.

Treasures of the English Renaissance: Stile Antico, Live from London

Although Stile Antico’s programme article for their Live from London recital introduced their selection from the many treasures of the English Renaissance in the context of the theological debates and upheavals of the Tudor and Elizabethan years, their performance was more evocative of private chamber music than of public liturgy.

A wonderful Wigmore Hall debut by Elizabeth Llewellyn

Evidently, face masks don’t stifle appreciative “Bravo!”s. And, reducing audience numbers doesn’t lower the volume of such acclamations. For, the audience at Wigmore Hall gave soprano Elizabeth Llewellyn and pianist Simon Lepper a greatly deserved warm reception and hearty response following this lunchtime recital of late-Romantic song.

The Sixteen: Music for Reflection, live from Kings Place

For this week’s Live from London vocal recital we moved from the home of VOCES8, St Anne and St Agnes in the City of London, to Kings Place, where The Sixteen - who have been associate artists at the venue for some time - presented a programme of music and words bound together by the theme of ‘reflection’.

Iestyn Davies and Elizabeth Kenny explore Dowland's directness and darkness at Hatfield House

'Such is your divine Disposation that both you excellently understand, and royally entertaine the Exercise of Musicke.’

Paradise Lost: Tête-à-Tête 2020

‘And there was war in heaven: Michael and his angels fought against the dragon; and the dragon fought and his angels, And prevailed not; neither was their place found any more in heaven … that old serpent … Satan, which deceiveth the whole world: he was cast out into the earth, and his angels were cast out with him.’

Joyce DiDonato: Met Stars Live in Concert

There was never any doubt that the fifth of the twelve Met Stars Live in Concert broadcasts was going to be a palpably intense and vivid event, as well as a musically stunning and theatrically enervating experience.

‘Where All Roses Go’: Apollo5, Live from London

‘Love’ was the theme for this Live from London performance by Apollo5. Given the complexity and diversity of that human emotion, and Apollo5’s reputation for versatility and diverse repertoire, ranging from Renaissance choral music to jazz, from contemporary classical works to popular song, it was no surprise that their programme spanned 500 years and several musical styles.

The Academy of St Martin in the Fields 're-connect'

The Academy of St Martin in the Fields have titled their autumn series of eight concerts - which are taking place at 5pm and 7.30pm on two Saturdays each month at their home venue in Trafalgar Square, and being filmed for streaming the following Thursday - ‘re:connect’.

Lucy Crowe and Allan Clayton join Sir Simon Rattle and the LSO at St Luke's

The London Symphony Orchestra opened their Autumn 2020 season with a homage to Oliver Knussen, who died at the age of 66 in July 2018. The programme traced a national musical lineage through the twentieth century, from Britten to Knussen, on to Mark-Anthony Turnage, and entwining the LSO and Rattle too.

Choral Dances: VOCES8, Live from London

With the Live from London digital vocal festival entering the second half of the series, the festival’s host, VOCES8, returned to their home at St Annes and St Agnes in the City of London to present a sequence of ‘Choral Dances’ - vocal music inspired by dance, embracing diverse genres from the Renaissance madrigal to swing jazz.

Royal Opera House Gala Concert

Just a few unison string wriggles from the opening of Mozart’s overture to Le nozze di Figaro are enough to make any opera-lover perch on the edge of their seat, in excited anticipation of the drama in music to come, so there could be no other curtain-raiser for this Gala Concert at the Royal Opera House, the latest instalment from ‘their House’ to ‘our houses’.

Fading: The Gesualdo Six at Live from London

"Before the ending of the day, creator of all things, we pray that, with your accustomed mercy, you may watch over us."

Met Stars Live in Concert: Lise Davidsen at the Oscarshall Palace in Oslo

The doors at The Metropolitan Opera will not open to live audiences until 2021 at the earliest, and the likelihood of normal operatic life resuming in cities around the world looks but a distant dream at present. But, while we may not be invited from our homes into the opera house for some time yet, with its free daily screenings of past productions and its pay-per-view Met Stars Live in Concert series, the Met continues to bring opera into our homes.

Precipice: The Grange Festival

Music-making at this year’s Grange Festival Opera may have fallen silent in June and July, but the country house and extensive grounds of The Grange provided an ideal setting for a weekend of twelve specially conceived ‘promenade’ performances encompassing music and dance.

Monteverdi: The Ache of Love - Live from London

There’s a “slide of harmony” and “all the bones leave your body at that moment and you collapse to the floor, it’s so extraordinary.”

Music for a While: Rowan Pierce and Christopher Glynn at Ryedale Online

“Music for a while, shall all your cares beguile.”

A Musical Reunion at Garsington Opera

The hum of bees rising from myriad scented blooms; gentle strains of birdsong; the cheerful chatter of picnickers beside a still lake; decorous thwacks of leather on willow; song and music floating through the warm evening air.

OPERA TODAY ARCHIVES »

Performances

08 Feb 2015

Idomeneo in Lyon

You might believe you could go to an opera and take in what you see at face value. But if you did that just now in Lyon you would have had no idea what was going on.

Idomeneo in Lyon

A review by Michael Milenski

Above:Elena Galitskaya as Ilia, Kate Aldrich as Idamante [all photos copyright by Jean-Pierre Maurin, courtesy of the Opéra de Lyon]

 

Totally confused by the Uzi bearing thugs [sigh] that herded distressed costumes on and off the stage, and, well, by the mezzo-soprano in concert dress standing extreme stage right (singing Idamante while voiceless mezzo-soprano Kate Aldrich walked the role on the stage) luckily I found the insert in the program book at the intermission that would enlighten me. The Opéra de Lyon had come to a belated conclusion that this new production by German director Martin Kušej (koooo-shy) might not make any sense.

Mr. Kušej’s dramaturg, Olaf A. Schmitt, explained that Idomeneo lives in fear of the future established by the diminished chords of his Act II aria “Fuor del mar.” Furthermore that the D major tonality of this aria was the same as the first chords of the overture thereby establishing Idomeneo as the sovereign. The aria is old-fashioned, the da capo form, and this proves that Idomeneo is captive of an out-of-date, unchangeable system.

To make a long story short, Idamante is also captive, both the old and new sovereigns hold their repressive power by embracing and exploiting a religious system. This is proven because D major is obviously Idomeneo’s tyranny, and then this tonality is adopted by Idamante in his supplications to be sacrificed to the gods in order to save his people.

This rationale seems to have been constructed so that in the dénouement of the opera the resignation of Idomeneo may occur with him alone on the stage. He is writhing in emotional agony in what must now be a prison (the set was a revolving platform of repeating doors). He in fact has lost his power, and there has been no sacrifice. Furthermore the old, unchangeable order remains. The final celebratory chorus is grimly sung by drably dressed (old “Eastern-bloc”) choristers. At least they were not playing with the little fishes that had earlier served to demonstrate calmed waters.

Idomeneo_Lyon2.pngThis sea monster of the first act gave way to the playful little fishes of the second act mentioned above

Did I get this right? More or less?

Well, it might have worked, and in fact the final Idomeneo scene was a powerful coup de théâtre that might have been convincing theater had the Opéra de Lyon provided a persuasive cast of singers, and more than perfunctory conducting.

As it was the voiceless Kate Aldrich was the only convincing presence on the stage, this fine artist here acted this travesty role with surprising masculine force (she physically attacked Idomeneo when she wanted him to do her bidding — note how this supports Mr. Kušej’s concept).

Mme. Aldrich in fact had the flu and could not sing (the flu had been passed around the cast, evidently you never knew who would be down for which performance). Her words were beautifully sung by Russian mezzo Margarita Gritskova who sometimes could not help becoming dramatically involved (musically). But we needed the artistic maturity of la Aldrich to make Idamante alive.

The balance of the cast, all fine singers, did not have the force of character or the physical presences to make a convincing case for this off-the-wall, politically naive, theatrically forced concept. It was a long, very long evening.

We can only shutter at our premonitions of what Mr. Kušej and Mr. Schmitt may attempt with Mozart’s Die Entführung aus dem Serail at the Aix Festival this coming summer.

Michael Milenski


Casts and production information:

Idoménée: Lothar Odinius; Idamante: Kate Aldrich; Ilia: Elena Galitskaya; Electre: Ingela Brimbert; Arbace: Julien Behr; Voix de Neptune: Lukas Jakobski. Orchestre et Choeurs de l’Opéra de Lyon. Conductor: Gérard Korsten; Mise en scène: Martin Kušej; Collaborateur artistique à la mise en scène: Herbert Stöger; Dramaturgie: Olaf Schmitt; Décors: Annette Murschetz; Costumes: Heide Kastler; Lumières: Reinhard Traub. Opéra Nouvel, Lyon, February 1, 2015.


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):