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

Anthony Negus conducts Das Rheingold at Longborough

There are those in England who decorate their front lawns with ever-smiling garden gnomes, but in rural Gloucestershire the Graham family has gone one better; their converted barn is inhabited, not by diminutive porcelain figures, but fantasy creatures of Norse mythology - dwarves, giants and gods.

Carmen in San Francisco

A razzle-dazzle, bloodless Carmen at the War Memorial, further revival of Francesca Zambello’s 2006 Covent Garden production already franchised to Oslo, Sidney and Washington, D.C.

Weimar Berlin - Bittersweet Metropolis: Esa-Pekka Salonen conducts the Philharmonia Orchestra

Strictly speaking, The Weimar Republic began on 11th August 1919 when the Weimar Constitution was announced and ended with the Enabling Act of 23rd March 1933 when all power to enact laws without the involvement of the Reichstag was disbanded.

A superb Un ballo in maschera at Investec Opera Holland Park

Investec Opera Holland Park’s brilliantly cast new production of Un ballo in maschera reunites several of the creative team from last year’s terrific La traviata, with director Rodula Gaitanou, conductor Matthew Kofi Waldren and lighting designer Simon Corder being joined by the designer, takis.

A Classy Figaro at The Grange Festival

Where better than The Grange’s magnificent grounds to present Mozart’s Le nozze di Figaro. Hampshire’s neo-classical mansion, with its aristocratic connections and home to The Grange Festival, is the perfect setting to explore 18th century class structures as outlined in Lorenzo da Ponte’s libretto.

A satisfying Don Carlo opens Grange Park Opera 2019

Grange Park Opera opened its 2019 season with a revival of Jo Davies fine production of Verdi's Don Carlo, one of the last (and finest) productions in the company's old home in Hampshire.

Ernst von Siemens Music Prize, 2019

The first woman composer to receive the Ernst von Siemens Music Prize could not have been a worthier candidate.

Josquin des Prez and His Legacy: Cinquecento at Wigmore Hall

The renown and repute of Josquin des Prez (c.1450-1521) both during his lifetime and in the years following his death was so extensive and profound that many works by his contemporaries, working in Northern France and the Low Countries, were mis-attributed to him. One such was the six-part Requiem by Jean Richafort (c.1480-c.1550) which formed the heart of this poised concert by the vocal ensemble Cinquecento at Wigmore Hall, in which they gave pride of place to Josquin’s peers and successors and, in the final item, an esteemed forbear.

Symphonie fantastique and Lélio United – F X Roth and Les Siècles, Paris

Symphonie fantastique and Lélio together, as they should be, with François-Xavier Roth and Les Siècles livestreamed from the Philharmonie de Paris (link below). Though Symphonie fantastique is heard everywhere, all the time, it makes a difference when paired with Lélio because this restores Berlioz’s original context.

Ivo van Hove's The Diary of One Who Disappeared at the Linbury Theatre

In 1917 Leoš Janáček travelled to Luhačovice, a spa town in the Zlín Region of Moravia, and it was here that he met for the first time Kamila Stösslová, the young married woman, almost 40 years his junior, who was to be his muse for the remaining years of his life.

Manon Lescaut opens Investec Opera Holland Park's 2019 season

At this end of this performance of Puccini’s Manon Lescaut at Investec Opera Holland Park, the first question I wanted to ask director Karolina Sofulak was, why the 1960s?

Karlheinz Stockhausen: Cosmic traveling through his Klavierstücke, Kontakte and Stimmung

Stockhausen. Cosmic Prophet. Two sequential concerts. Music written for piano, percussion, sound diffusion and the voice. We are in the mysterious labyrinth of one of the defining composers of the last century. That at least ninety-minutes of one of these concerts proved to be an event of such magnitude is as much down to the astonishing music Stockhausen composed as it is to the peerless brilliance of the pianist who took us on the journey through the Klavierstücke. Put another way, in more than thirty years of hearing some of the greatest artists for this instrument - Pollini, Sokolov, Zimerman, Richter - this was a feat that has almost no parallels.

Don Giovanni at Garsington Opera

A violent splash of black paint triggers the D minor chord which initiates the Overture. The subsequent A major dominant is a startling slash of red. There follows much artistic swishing and swirling by Don Giovanni-cum-Jackson Pollock. The down-at-heel artist’s assistant, Leporello, assists his Master, gleefully spraying carmine oil paint from a paint-gun. A ‘lady in red’ joins in, graffiti-ing ‘WOMAN’ across the canvas. The Master and the Woman slip through a crimson-black aperture; the frame wobbles.

A brilliant The Bartered Bride to open Garsington's 2019 30th anniversary season

Is it love or money that brings one happiness? The village mayor and marriage broker, Kecal, has passionate faith in the banknotes, while the young beloveds, Mařenka and Jeník, put their own money on true love.

A reverent Gluck double bill by Classical Opera

In staging this Gluck double bill for Classical Opera, at the Queen Elizabeth Hall, director John Wilkie took a reverent approach to classical allegory.

Time Stands Still: L'Arpeggiata at Wigmore Hall

Christina Pluhar would presumably irritate the Brexit Party: she delights in crossing borders and boundaries. Mediterraneo, the programme that she recorded and performed with L’Arpeggiata in 2013, journeyed through the ‘olive frontier’ - Portugal, Greece, Turkey, Spain, southern Italy - mixing the sultry folk melodies of Greece, Spain and Italy with the formal repetitions of Baroque instrumental structures, and added a dash of the shady timbres and rhythmic litheness of jazz.

Puccini’s Tosca at The Royal Opera House

Sitting through Tosca - and how we see and hear it these days - does sometimes make one feel one hasn’t been to the opera but to a boxing match. Joseph Kerman’s lurid, inspired or plain wrong-headed description of this opera as ‘a shabby little shocker’ was at least half right in this tenth revival of Jonathan Kent’s production.

A life-affirming Vixen at the Royal Academy of Music

‘It will be a dream, a fairy tale that will warm your heart’: so promised a preview article in Moravské noviny designed to whet the appetite of the Brno public before the first performance of Leoš Janáček’s The Cunning Little Vixen at the town’s Na hradbách Theatre on 6th November 1924.

Peter Sellars' kinaesthetic vision of Lasso's Lagrime di San Pietro

On 24th May 1594 just a few weeks before his death on 14 June, the elderly Orlando di Lasso signed the dedication of his Lagrime di San Pietro - an expansive cycle of seven-voice penitential madrigale spirituali, setting vernacular poetry on the theme of Peter’s threefold denial of Christ - to Pope Clement VIII.

Karlheinz Stockhausen: Donnerstag aus Licht

Stockhausen was one of the most visionary of composers, and no more so than in his Licht operas, but what you see can often get in the way of what you hear. I’ve often found fully staged productions of his operas a distraction to the major revelation in them - notably the sonorities he explores, of the blossoming, almost magical acoustical chrysalis, between voices and instruments.

OPERA TODAY ARCHIVES »

Performances

06 Feb 2015

Tristan et Isolde in Toulouse

Tristan first appeared on the stage of the Théâtre du Capitole in 1928, sung in French, the same language that served its 1942 production even with Wehrmacht tanks parked in front of the opera house.

Tristan und Isolde in Toulouse

A review by Michael Milenski

Above: Robert Dean Smith as Tristan, Elisabete Matos as Isolde [all photos copyright Patrice Nin, courtesy of the Théâtre du Capitole]

 

But ten years later, 1952, Kirsten Flagstad sang Isolde in Toulouse, in German of course. The then director of the opera, tenor Louis Izar was a celebrated Ring Mime, and the then mayor of Toulouse, Raymond Badiou himself was big friends with Wieland Wagner. Toulouse had become known as Bayreuth-sur-Garonne (the river that passes through Toulouse).

Tristan und Isolde however disappeared from the Theatre du Capitole after the 1972 production (Herbert Becker and Klara Barlow), not to reappear until 2007 in a production by Nicholas Joël, remounted just now with American tenor Robert Dean Smith as Tristan and Portuguese soprano Elisabete Matos as Isolde. At the first intermission a tall gentleman strode through the bar loudly proclaiming in hoch British that it was “better than Bayreuth.”

Tristan_Toulouse2.pngElisabete Matos as Isolde

Most of us have not been to Bayreuth so we cannot know, but it was indeed certain that this Tristan was already an ultimate experience, and that was well before the Tristan delirium that was the musically shattering climax of the performance. The conductor was 62 year old, Leipzig born conductor Claus Peter Flor, known in the U.S. as the guest conductor of the Dallas Symphony (1999-2008). While no stranger to the opera pit his program booklet biography reveals him to be primarily an orchestral conductor.

The maestro concentrated his attention on the famed Toulouse orchestra, here strings 12/12/10/8/6, triple winds but 6 horns, with the full backstage complement of 6 horns and 3 each trumpets and trombones. There were two harps for the mesmerizingly beautiful second act love tryst, Brangäne gorgeously intoning her admonitions. The exquisite minor third trills of the clarinets had already laid the foundations for Wagner’s eternally quivering passions.

If seventy six orchestra players and two heroic voices can be said to whisper this was the intimacy of the second act. In fact the first act as well was developed in personal rather than mythical voices, the oboes, flutes and English horn working to color Isolde’s despair, Brangäne’s (in black spectacles) deception, and Tristan’s indifference. The first act love duet was surprise more than passion, preparing us for the musico-psychological treatise on nineteenth Romantic century love that was the second and third acts.

Metteur en scène Nicholas Joël hovered between the real and the magical, his production sometimes staged and sometimes semi-staged. Wagner’s first act sailors were 8 supernumeraries [figurants] (the chorus was hidden) in formal concert dress (tails) who reappeared at the end of the opera as King Mark’s soldiers. The second act swords drawn, Melot’s thrust was symbolically received, Tristan fell, isolated on the other side of the stage. At the end of the opera Kurvenal’s thrust was symbolic, not actually touching the jealous traitor, Tristan’s friend Melot.

Tristan_Toulouse3.pngElisabete Matos as Isolde, Robert Dean Smith as Tristan

Finally Tristan lying dead, Isolde rose, walked down stage center (the soldiers, the dead Kurvenal and Melot as well as King Mark had all slipped off stage). This was the liebestod for the brilliant-red gowned Isolde, in concert now. It was, as intended, a panegyric to love. It was not the end of an opera.

The coup de théâtre occurred at the beginning of the third act. The curtain rose on the wounded Tristan hanging over the front point of the now sharply elevated triangular center platform (the stage set was three platforms that in the first act had moved up and down as the wave motions of the sea). Arms and head dangling into the emptiness high above the orchestra pit Tristan remained there for maybe ten minutes (through the English horn solo and Kurvenal’s scene with the shepherd).

He awoke to deliver his great mad scene, always perched on this point, and somehow balanced philosophy with emotional rawness, rationality with irrationality. It was in this delirium that the maestro let loose with the great (and here the biggest) orchestral climaxes of the entire opera. It was the cerebral drama of this extended tract that made the Joël concept of Tristan become the masterpiece Tristan und Isolde is said to be — we both understood and felt love as if we were a Romantic poet.

Robert Dean Smith is of strong, secure and virile voice, his dramatic and musical intelligence apparent, well able to effect the considerable challenges of this mise en scène. He has already established himself as one of the important Tristans of our day on the world’s important stages. Elisabete Matos has performed Isolde once before, in 2011 at Barcelona’s Liceu. In the prime of voice she is able to soar to and beyond the enormous climaxes never compromising her richly colored sound. Her familiarity with the great Verdi dramatic soprano roles lies under her Isolde, the liebestod far more intimate and personal than heroic. The vast emotional vistas and philosophic scope of this production were perfectly realized in her performance.

German mezzo-soprano Daniela Sindram well fulfilled the requirements of this production, her Brangäne a very present figure in Wagner’s conceptual preparations. Costumed in white German baritone Stefan Heidemann made a very present Kurvenal, his rather loud, darkly colored voice a welcomed contrast to the refined Heldon tenor tone of Robert Dean Smith. German bass Hans-Peter König was a perfunctory King Mark.

Conductor Claus Peter Flor created this remarkable musical vision that fulfilled the complex theatrical vision of Nicholas Joël. The stage and pit were remarkably synchronized, the maestro focused on his orchestra, the stage very sure of itself.

Michael Milenski


Casts and production information:

Tristan: Robert Dean Smith; Isolde: Elisabete Matos; King Mark: Hans-Peter Koenig; Kurwenal: Stefan Heidemann; Melot: Thomas Dolié; Brangaene: Daniela Sindram; Un Jeune matelot / Un Berger: Paul Kaufmann; Un Pilote: Jean-Luc Antoine. Choeur du Capitole, Orchestre national du Capitole. Conductor: Claus Peter Flor; Mise en scène: Nicolas Joel; Scenery and costumes: Andreas Reinhardt; Lighting: Vinicio Cheli. Théâtre du Capitole, Toulouse, 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):