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

Desert Island Delights at the RCM: Offenbach's Robinson Crusoe

Britannia waives the rules: The EU Brexit in quotes’. Such was the headline of a BBC News feature on 28th June 2016. And, nearly three years later, those who watch the runaway Brexit-train hurtle ever nearer to the edge of Dover’s white cliffs might be tempted by the thought of leaving this sceptred (sceptic?) isle, for a life overseas.

Akira Nishimura’s Asters: A Major New Japanese Opera

Opened as recently as 1997, the Opera House of the New National Theatre Tokyo (NNTT) is one of the newest such venues among the world’s great capitals, but, with ten productions of opera a year, ranging from baroque to contemporary, this publicly-owned and run theatre seems determined to make an international impact.

The Outcast in Hamburg

It is a “a musicstallation-theater with video” that had its world premiere at the Mannheim Opera in 2012, revived just now in a new version by Vienna’s ORF Radio-Symphonieorchester Wein for one performance at the Vienna Konzerthaus and one performance in Hamburg’s magnificent Elbphilharmonie (above). Olga Neuwirth’s The Outcast and this rich city are imperfect bedfellows!

Monarchs corrupted and tormented: ETO’s Idomeneo and Macbeth at the Hackney Empire

Promises made to placate a foe in the face of imminent crisis are not always the most well-considered and have a way of coming back to bite one - as our current Prime Minister is finding to her cost.

Der Fliegende Holländer and
Tannhäuser in Dresden

To remind you that Wagner’s Dutchman had its premiere in Dresden’s Altes Hoftheater in 1843 and his Tannhauser premiered in this same theater in 1845 (not to forget that Rienzi premiered in this Saxon court theater in 1842).

WNO's The Magic Flute at the Birmingham Hippodrome

A perfect blue sky dotted with perfect white clouds. Identikit men in bowler hats clutching orange umbrellas. Floating cyclists. Ferocious crustaceans.

Puccini’s Messa di Gloria: Antonio Pappano and the London Symphony Orchestra

This was an oddly fascinating concert - though, I’m afraid, for quite the wrong reasons (though this depends on your point of view). As a vehicle for the sound, and playing, of the London Symphony Orchestra it was a notable triumph - they were not so much luxurious - rather a hedonistic and decadent delight; but as a study into three composers, who wrote so convincingly for opera, and taken somewhat out of their comfort zone, it was not a resounding success.

WNO's Un ballo in maschera at Birmingham's Hippodrome

David Pountney and his design team - Raimund Bauer (sets), Marie-Jeanne Lecca (costumes), Fabrice Kebour (lighting) - have clearly ‘had a ball’ in mounting this Un ballo in maschera, the second part of WNO’s Verdi trilogy and which forms part of a spring season focusing on what Pountney describes as the “profound and mysterious issue of Monarchy”.

Super #Superflute in North Hollywood

Pacific Opera Project’s rollicking new take on The Magic Flute is as much endearing fun as a box full of puppies.

Leading Ladies: Barbara Strozzi and Amiche

I couldn’t help wondering; would a chamber concert of vocal music by female composers of the 17th century be able sustain our concentration for 90 minutes? Wouldn’t most of us be feeling more dutiful than exhilarated by the end?

George Benjamin’s Into the Little Hill at Wigmore Hall

This week, the Wigmore Hall presents two concerts from George Benjamin and Frankfurt’s Ensemble Modern, the first ‘at home’ on Wigmore Street, the second moving north to Camden’s Roundhouse. For the first, we heard Benjamin’s now classic first opera, Into the Little Hill, prefaced by three ensemble works by Cathy Milliken, Christian Mason, and, for the evening’s spot of ‘early music’, Luigi Dallapiccola.

Marianne Crebassa sings Berio and Ravel: Philharmonia Orchestra with Salonen

It was once said of Cathy Berberian, the muse for whom Luciano Berio wrote his Folk Songs, that her voice had such range she could sing the roles of both Tristan and Isolde. Much less flatteringly, was my music teacher’s description of her sound as akin to a “chisel being scraped over sandpaper”.

Rossini's Elizabeth I: English Touring Opera start their 2019 spring tour

What was it with Italian bel canto and the Elizabethan age? The era’s beautiful, doomed queens and swash-buckling courtiers seem to have held a strange fascination for nineteenth-century Italians.

Chameleonic new opera featuring Caruso in Amsterdam

Micha Hamel’s new opera, Caruso a Cuba, is constantly on the move. The chameleonic score takes on a myriad flavours, all with a strong sense of mood or place.

Ernst Krenek: Karl V, Bayerisches Staatsoper

Ernst Krenek’s Karl V op 73 at the Bayerisches Staatsoper, with Bo Skovhus, conducted by Erik Nielsen, in a performance that reveals the genius of Krenek’s masterpiece. Contemporary with Schreker’s Die Gezeichneten, Schoenberg’s Moses und Aron, Berg’s Lulu, and Hindemith’s Mathis der Maler, Krenek’s Karl V is a metaphysical drama, exploring psychological territory with the possibilities opened by new musical form.

A Sparkling Merry Widow at ENO

A small, formerly great, kingdom, is on the verge of bankruptcy and desperate to prevent its ‘assets’ from slipping into foreign hands. Sexual and political intrigues are bluntly exposed. The princes and patriarchs are under threat from both the ‘paupers’ and the ‘princesses’, and the two dangers merge in the glamorous figure of the irresistibly wealthy Pontevedrin beauty, Hanna Glawari, a working-class girl who’s married up and made good.

Mozart: Così fan tutte - Royal Opera House

Così fan tutte is, primarily, an ensemble opera and it sinks or swims on the strength of its sextet of singers - and this performance very much swam. In a sense, this is just as well because Jan Phillip Gloger’s staging (revived here by Julia Burbach) is in turns messy, chaotic and often confusing. The tragedy of this Così is that it’s high art clashing with Broadway; a theatre within an opera and a deceit wrapped in a conundrum.

Gavin Higgins' The Monstrous Child: an ROH world premiere

The Royal Opera House’s choice of work for the first new production in the splendidly redesigned Linbury Theatre - not unreasonably, it seems to have lost ‘Studio’ from its name - is, perhaps, a declaration of intent; it may certainly be received as such. Not only is it a new work; it is billed specifically as ‘our first opera for teenage audiences’.

Elektra at Lyric Opera of Chicago

From the first moments of the recent revival of Sir David McVicar’s production of Elektra by Richard Strauss at Lyric Opera of Chicago the audience is caught in the grip of a rich music-drama, the intensity of which is not resolved, appropriately, until the final, symmetrical chords.

Expressive Monteverdi from Les Talens Lyriques at Wigmore Hall

This was an engaging concert of madrigals and dramatic pieces from (largely) Claudio Monteverdi’s Venetian years, a time during which his quest to find the ‘natural way of imitation’ - musical embodiment of textual form, meaning and affect - took the form not primarily of solo declamation but of varied vocal ensembles of two or more voices with rich instrumental accompaniments.

OPERA TODAY ARCHIVES »

Performances

15 Jul 2015

Carmen in Orange

Some time ago in San Francisco there was an Aida starring Luciano Pavarotti, now in Orange it was Carmen starring Jonas Kaufmann. No, not tenors in drag just great tenors whose names simply outshine the title roles.

Carmen in Orange

A review by Michael Milenski

Above: Jonas Kaufmann as Don Jose
Photo copyright Abadie, courtesy of the Chorégies d'Orange

 

But Jose, unlike Aida’s Radamès, is actually the star of the show, Carmen herself is a cameo role, three brief songs, then thrown around a bit and finally stabbed, throttled or drowned depending on directorial humors. In Orange Carmen was one of the unusual interpreters of the role — Kate Aldrich.

Mme. Aldrich once brought the shine of Kansas to Carmen’s Seville (San Francisco Opera 2007) but this estimable artist has matured in Europe where she has embraced the soprano bel canto repertory with great success. Cast now in Orange a bit after her Carmen period the role is still well in her voice and she still makes Carmen a magic presence by sheer vivacity of personality, as she had in San Francisco. It is not a Carmen based on sultry sexiness.

It was a lively night in the 2000 year old Théâtre Antique despite the 37C/100F temperature. Normally at a Chorégies performance there are a few spectators (among the 10,000 or so) who are carried out on stretchers — the steps are steep, the audience aged and much wine has flowed at the hundreds of festive dining tables spread out in the streets of the old town. But no one was going to miss out on this famous tenor doing this famous role.

Carmen_Orange2 - 1.pngJonas Kaufmann as Don Jose, Kate Aldrich as Carmen
Photo copyright Gromales, courtesy of the Chorégies d'Orange.

Given that expectations were inordinately high a couple of boos were heard through the polite applause for the “Habanera.” But that was before we (many, many of us in the audience) became aware that conductor Mikko Franck had indeed transformed Bizet’s fiery opera into a lovely symphonic tone poem. It was of great orchestral personality above all else, and of an inexorable deliberateness of musical exposition. The pit was absolutely detached from the stage.

Upon his re-entry into the pit after the intermission this conductor was met with a resounding chorus of boos (mine included). Mr. Franck conducted seated in an arm chair (yes, there really were arms) seldom glanced at the stage, made the instrumental duets with the singers into brilliant solos for the very fine players of the Orchestre Philharmonique de Radio France (the third act intermezzo for flute was coyly playful rather than the expected flowing reverie), destroyed the quintet with sluggishness, dragged down Micaëla’s aria with agogic elaborations in his accompaniment. Not to mention that the usual impeccable ensemble of the always huge chorus with the pit was painfully missing.

What seemed illuminated orchestral playing at the commencement of the evening — evoking once again admiration of the surprisingly acoustic of this fine old theater — soon became annoying, and in the end belayed the adage that Carmen is indestructible. But had not Mr. Franck, music director designate of the Orchestre Philharmonique de Radio France, destroyed it, the staging of Louis Désiré would have accomplished this singlehandedly.

Carmen_Orange3 - 1 (1).pngKate Aldrich as Carmen, Jonas Kaufmann as Jose, Act IV
Photo copyright Abadie, courtesy of the Chorégies d'Orange.

Mr. Désiré, who gave us a splendid Tosca in Marseille last spring, evidently determined that the 300 foot expanse of the Théâtre Antique stage prevented all possibility of realizing the physical drama messieurs Meilhac, Halévy and Bizet had imagined. His solution was to make Carmen an oratorio, the identically costumed choristers frozen in blocks, the only physical actions were changing the placements of the famous scenes from one playing area to another (delimited by the surfaces of several huge face-up playing cards, a scattered deck being Mr. Désiré’s scenic concept).

All was not lost however because we did have the fine Don Jose of Jonas Kaufmann. Not that this tenorissimo is a real Jose — his voice is heroic, his delivery refined, his musicianship impeccable. Mr. Kaufmann is a remarkable singer with technique that allows him opportunity to explore and vocally exploit roles that are successful even when delivered monochromatically. In some ways Mr. Kaufmann and conductor Franck were an extraordinary musical match. Like conductor Franck he achieved an elegantly expanded rather than an eloquent performance.

Physically Mr. Kaufmann’s Jose was scruffy and well acted, hardly the handsome matinée idol of his publicity photos.

Micaëla was sung by 50 year-old Inva Mula, her great experience and confidence triumphing above the over-refined pit, her “Je dis” expansively and knowingly delivered diva style. It was deservedly well appreciated by the audience. Escamillo was sung by Kyle Ketelsen, the Aix Festival’s nimble Leporello and Figaro. He brought a lively wit to this Escamillo that was beyond the scope of this oratorio context. One can only dream of Mme. Aldridge and Mr. Ketelsen in a theatrically informed Carmen in a small theater or maybe even in the huge Théâtre Antique with a conductor and stage director who know that opera is, well, opera.

Michael Milenski


Cast and production information:

Carmen: Kate Aldrich; Micaëla: Inva Mula; Frasquita: Hélène Guilmette; Mercédès: Marie Karall; Don José: Jonas Kaufmann; Escamillo: Kyle Ketelsen; 
Zuniga: Jean Teitgen; Le Dancaïre: Olivier Grand; Le Remendado: Florian Laconi;
Moralès Armando Noguera. Orchestre Philharmonique de Radio France, choruses of the operas of Angers-Nantes, Avignon and Nice, Maîtrise (childrens chorus) of the Bouches-du-Rhône. Conductor: Mikko Franck; Mise en scène, décors, costumes: Louis Désiré; Lighting: Patrick Méeüs. Théâtre Antique, Orange, France, July 11, 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):