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 Reviews

Arabella in San Francisco

A great big guy in a great big fur coat falls in love with the photo of the worldly daughter of a compulsive gambler. A great big conductor promotes the maelstrom of great big music that shepherds all this to ecstatic conclusion.

Two falls out of three for Britten in Seattle Screw

The miasma of doom that pervades the air of the great house of Bly seems to seep slowly into the auditorium, dulling the senses, weighing down the mind. What evil lurks here? Can these people be saved? Do we care?

New Hans Zender Schubert Winterreise - Julian Prégardien

Hans Zender's Schuberts Winterreise is now established in the canon, but this recording with Julian Prégardien and the Deutsche Radio Philharmonie conducted by Robert Reimer is one of the most striking. Proof that new work, like good wine, needs to settle and mature to reveal its riches.

Pascal Dusapin’s Passion at the Queen Elizabeth Hall

Ten years ago, I saw one of the first performances of Pascal Dusapin’s Passion at the Festival d’Aix-en-Provence. Now, Music Theatre Wales and National Dance Company Wales give the opera its first United Kingdom production - in an English translation by Amanda Holden from the original Italian: the first time, I believe, that a Dusapin opera has been performed in translation. (I shall admit to a slight disappointment that it was not in Welsh: maybe next time.)

Tosca in San Francisco

The story was bigger than its actors, the Tosca ritual was ignored. It wasn’t a Tosca for the ages though maybe it was (San Francisco’s previous Tosca production hung around for 95 years). P.S. It was an evening of powerful theater, and incidentally it was really good opera.

Fine performances in uneven War Requiem at the Concertgebouw

At the very least, that vehement, pacifist indictment against militarism, Benjamin Britten’s War Requiem, should leave the audience shaking a little. This performance by the Royal Concertgebouw Orchestra only partially succeeded in doing so. The cast credits raised the highest expectations, but Gianandrea Noseda, stepping in for an ailing Mariss Jansons and conducting the RCO for the first time, did not bring out the full potential at his disposal.

The Tallis Scholars at Cadogan Hall

In their typical non-emphatic way, the Tallis Scholars under Peter Phillips presented here a selection of English sacred music from the Eton Choirbook to Tallis. There was little to ruffle anyone’s feathers here, little in the way of overt ‘interpretation’ – certainly in a modern sense – but ample opportunity to appreciate the mastery on offer in this music, its remoteness from many of our present concerns, and some fine singing.

Dido and Aeneas: Academy of Ancient Music

“Remember me, but ah! forget my fate.” Well, the spectral Queen of Carthage atop the poppy-strewn sarcophagus wasn’t quite yet “laid in earth”, but the act of remembering, and remembrance, duly began during the first part of this final instalment of the Academy of Ancient Music’s Purcell trilogy at the Barbican Hall.

Poignantly human – Die Zauberflöte, La Monnaie

Mozart Die Zauberflöte (The Magic Flute) at La Monnaie /De Munt, Brussels, conducted by Antonello Manacorda, directed by Romeo Castellucci. Part allegory, part Singspeile, and very much a morality play, Die Zauberflöte is not conventional opera in the late 19th century style. Naturalist realism is not what it's meant to be. Cryptic is closer to what it might mean.

Covent Garden: Wagner’s Siegfried, magnificent but elusive

How do you begin to assess Covent Garden’s Siegfried? From a purely vocal point of view, this was a magnificent evening; it’s hard not to reach the conclusion that this was as fine a cast as you are likely to hear anywhere today.

Powerful Monodramas: Zender, Manoury and Schoenberg

The concept of the monologue in opera has existed since the birth of opera itself, but when we come to monodramas - with the exception of Rousseau’s Pygmalion (1762) - we are looking at something that originated at the beginning of the twentieth century.

ENO's Salome both intrigues and bewilders

Femme fatale, femme nouvelle, she-devil: the personification of patriarchal castration-anxiety and misogynistic terror of female desire.

In the Company of Heaven: The Cardinall's Musick at Wigmore Hall

Palestrina led from the front, literally and figuratively, in this performance at Wigmore Hall which placed devotion to the saints at its heart, with Saints Peter, Paul, Catherine of Alexandria, Bartholomew and the Virgin Mary all musically honoured by The Cardinall’s Musick and their director Andrew Carwood.

Roberto Devereux in San Francisco

Opera’s triple crown, Donizetti’s tragic queens — Anna Bolena who was beheaded by her husband Henry VIII, their daughter Elizabeth I who beheaded her rival Mary, Queen of Scots and who executed her lover Roberto Devereux.

O18: Queens Tries Royally Hard

Opera Philadelphia is lightening up the fare at its annual festival with a three evening cabaret series in the Theatre of Living Arts, Queens of the Night.

O18 Magical Mystery Tour: Glass Handel

How to begin to quantify the wonderment stirred in my soul by Opera Philadelphia’s sensational achievement that is Glass Handel?

Magic Lantern Tales: darkness, disorientation and delight from Cheryl Frances-Hoad

“It produces Effects not only very delightful, but to such as know the contrivance, very wonderful; so that Spectators, not well versed in Opticks, that could see the various Apparitions and Disappearances, the Motions, Changes and Actions, that may this way be presented, would readily believe them super-natural and miraculous.”

A lunchtime feast of English song: Lucy Crowe and Joseph Middleton at Wigmore Hall

The September sunshine that warmed Wigmore Street during Monday’s lunch-hour created the perfect ambience for this thoughtfully compiled programme of seventeenth- and twentieth-century English song presented by soprano Lucy Crowe and pianist Joseph Middleton at Wigmore Hall.

O18: Mad About Lucia

Opera Philadelphia has mounted as gripping and musically ravishing an account of Lucia di Lammermoor as is imaginable.

O18 Poulenc Evening: Moins C’est Plus

In Opera Philadelphia’s re-imagined La voix humaine, diva Patricia Racette had a tough “act” to follow ...

OPERA TODAY ARCHIVES »

Reviews

11 Oct 2015

Strong music values in 1940's setting for Handel's opera examining madness

As part of their Madness season, presenting three very contrasting music theatre treatments of madness (Handel's Orlando, Bellini's I Puritani and Sondheim's Sweeney Todd) Welsh National Opera (WNO) presented Handel's Orlando at the Wales Millennium Centre on Saturday 3 October 2015.

Directed by Harry Fehr, designed by Yannis Thavoris, lighting by Anna Watson, video by Andrzej Goulding, movement Kelly Lloyd-Jones (also associate director), the production was originally created for Scottish Opera. The WNO performances featured Lawrence Zazzo as Orlando, Daniel Grice as Zoroastro, Fflur Wyn as Dorinda, Rebecca Evans as Angelica and Robin Blaze as Medoro. Rinaldo Alessandrini conducted the Welsh National Opera Orchestra.

From the first notes of the overture, played with the curtain down, it was clear that Rinaldo Aessandrini, who is best known for his work with period instrument groups, had developed a creative partnership with the modern instruments of the WNO orchestra. The overture was crisp and lively with some lovely firm playing, not too much vibrato, and a clear feel of period style.

When the curtain did go up for the first scene, Zoroastro's great scena as he looks at the stars, the setting was a 1940's hospital and instead of the stars, Zoroastro (Daniel Grice) was looking at the output from a device hooked up to Orlando's (Lawrence Zazzo) brain. Harry Fehr and Yannis Zavoris had transported the opera to the 1940's with Orlando and Medoro (Robin Blaze) as injured airmen. Dorinda (Fflur Wyn) was now a nurse with Angelica (Rebecca Evans) a glamorous socialite. There were some neat touches; when, in Act One, Zoroastro talks to Orlando of following the path of glory rather than love, he showed Orlando pictures of the Abdication and the subsequent aftermath with the Duke of Windsor being pictured with Nazis.

But Orlando is a pastoral piece, and not only is Dorinda meant to be a shepherdess but many of the characters talk of the beauty of the place and the loss they will feel when they leave. More problematic, for me, was the relentless and busy naturalism of Fehr's production. His style seems to owe something to Katie Mitchell, as the whole opera had a sense of continuous narrative with something constantly happening, as if Handel's drama was somehow insufficient. When Lawrence Zazzo's Orlando sang, a group of doctors were constantly checking charts. I found it at best annoying, and at worst rather reductive. Zoroastro's opening scene seemed reduced when sung by Daniel Grice poring over medical charts in a busy hospital room. And despite Lawrence Zazzo's vivid performance in Orlando's mad scene, the drama seemed lessened by the obsessive detail of the surrounding action with Daniel Grice's Zoroastro and his group of doctor and nurses scurrying round in response to Orlando's actions. The new raison d'etre of the plot never really found a reason why Orlando was allowed so much lee-way, and despite the apparent naturalism of the presentation there was still a lot of suspension of disbelief required.

Handel wrote Orlando in 1733 at a difficult period in the business of Italian opera in London. Orlando would be the last role which his star castrato created for Handel, as Senesino and a number of leading singers then defected to the rival Opera of the Nobility. Perhaps Senesino did not really appreciate the daring way Handel had written the role of Orlando, with his highly innovative mad scene where all the musical rules are broken. And to show of the talents of the great bass Montagnana, Handel and his librettist effectively created the role of Zoroastro adding moments like the opening scene to the existing libretto. Orlando was not a great success at its premiere, and Handel never revived the work again.

Daniel Grice was a capable and effective Zoroastro, singing with a nice sense of firmness. But he did not really dominate the role, and was certainly not helped by the staging so that his great accompanied recitatives at the opening of Act 1 and the end of Act 3 were both a little too matter of fact.

Inevitably the opera was cut, but reasonably discreetly. Act 1 ran to 80 minutes, with Acts 2 and 3 each 40 minutes. Rinaldo Alessandrini kept speeds brisk, so we covered a lot of ground, and there were not waits for scene changes, so that the whole piece flowed well. And whilst speeds may have been fast-ish, there was never a sense of being driven and Alessandrini kept a lovely sense of flow with space for the singers. The orchestra kept up the promise given in the overture, and the arias and accompanied recitatives were all a series of stylish, vivid delights.
Yannis Thavoris' set, which was essentially a single piece set on a revolve, was elegantly imaginative and enabled the varied locations needed in the opera to flow without interrupting the music.

I have yet to see my idea production of Orlando but Harry Fehr's 1940's incarnation at least had the virtues of treating the story with seriousness, presenting the drama in his own way but treating it as serious drama and never guying it. Within this framework, Alessandrini, the singers and the orchestra created a series of very fine moments and ultimately, a rather moving drama.

Robert Hugill

Handel Orlando;
Orlando:Lawrence Zazzo, Angelica: Rebecca Evans, Medoro: Robin Blaze, Dorinda: Fflur Wyn, Zoroastro: Daniel Grice
Directed: Harry Fehr, Design: Yannis Thavoris, Conductor: Rinaldo Alessandrini;
Welsh National Opera at the Wales Millennium Centre
3 October 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):