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

Semiramide at the Rossini Opera Festival

The pleasures (immense) and pain of Gioachino Rossini’s Semiramide (Venice, 1823). Uncut.

L’equivoco stravagante in Pesaro

L’equivoco stravagante (The Bizarre Misunderstanding), the 18 year-old Gioachino Rossini's first opera buffa, is indeed bizarre. Its heroine Ernestina is obsessed by literature and philosophy and the grandiose language of opera seria.

BBC Prom 44: Rattle conjures a blistering Belshazzar’s Feast

This was a notable occasion for offering three colossal scores whose execution filled the Albert Hall’s stage with over 150 members of the London Symphony Orchestra and 300 singers drawn from the Barcelona-based Orfeó Català and Orfeó Català Youth Choir, along with the London Symphony Chorus.

Prom 45: Mississippi Goddam - A Homage to Nina Simone

Nina Simone was one of the towering figures of twentieth-century music. But she was much more than this; many of her songs came to be a clarion call for disenfranchised and discriminated against Americans. When black Americans felt they didn’t have a voice, Nina Simone gave them one.

Sincerity, sentimentality and sorrow from Ian Bostridge and Julius Drake at Snape Maltings

‘Abwärts rinnen die Ströme ins Meer.’ Down flow the rivers, down into the sea. These are the ‘sadly-resigned words in the consciousness of his declining years’ that, as reported by The Athenaeum in February 1866 upon the death of Friedrich Rückert, the poet had written ‘some time ago, in the album of a friend of ours, then visiting him at his rural retreat near Neuses’. Such melancholy foreboding - simultaneously sincere and sentimental - infused this recital at Snape Maltings by Ian Bostridge and Julius Drake.

Glimmerglass’ Showboat Sails to Glory

For the annual production of a classic American musical that has become part of Glimmerglass Festival’s mission, the company mounted a wholly winning version of Jerome Kern and Oscar Hammerstein II’s immortal Showboat.

Proms at ... Cadogan Hall 5: Louise Alder and Gary Matthewman

“On the wings of song, I’ll bear you away …” So sings the poet-speaker in Mendelssohn’s 1835 setting of Heine’s ‘Auf Flügeln des Gesanges’. And, borne aloft we were during this lunchtime Prom by Louise Alder and Gary Matthewman which soared progressively higher as the performers took us on a journey through a spectrum of lieder from the first half of the nineteenth century.

Glowing Verdi at Glimmerglass

From the first haunting, glistening sound of the orchestral strings to the ponderous final strokes in the score that echoed the dying heartbeats of a doomed heroine, Glimmerglass Festival’s superior La Traviata was an indelible achievement.

Médée in Salzburg

Though Luigi Cherubini long outlived the carnage of the French Revolution his 1797 opéra comique [with spoken dialogue] Médée fell well within the “horror opera” genre that responded to the spirit of its time. These days however Médée is but an esoteric and extremely challenging late addition to the international repertory.

Queen: A Royal Jewel at Glimmerglass

Tchaikovsky’s grand opera The Queen of Spades might seem an unlikely fit for the multi-purpose room of the Pavilion on the Glimmerglass campus but that qualm would fail to reckon with the superior creative gifts of the production team at this prestigious festival.

Blue Diversifies Glimmerglass Fare

Glimmerglass Festival has commendably taken on a potent social theme in producing the World Premiere of composer Jeanine Tesori and librettist Tazewell Thompson’s Blue.

Vibrant Versailles Dazzles In Upstate New York

From the shimmering first sounds and alluring opening visual effects of Glimmerglass Festival’s The Ghosts of Versailles, it was apparent that we were in for an evening of aural and theatrical splendors worthy of its namesake palace.

Gilda: “G for glorious”

For months we were threatened with a “feminist take” on Verdi’s boiling 1851 melodrama; the program essay was a classic mashup of contemporary psychobabble perfectly captured in its all-caps headline: DESTRUCTIVE PARENTS, TOXIC MASCULINITY, AND BAD DECISIONS.

Simon Boccanegra in Salzburg

It’s an inescapable reference. Among the myriad "Viva Genova!" tweets the Genovese populace shared celebrating its new doge, the pirate Simon Boccanegra, one stood out — “Make Genoa Great Again!” A hell of a mess ensued for years and years and the drinking water was poisonous as well.

Rigoletto at Macerata Opera Festival

In this era of operatic globalization, I don’t recall ever attending a summer opera festival where no one around me uttered a single word of spoken English all night. Yet I recently had this experience at the Macerata Opera Festival. This festival is not only a pure Italian experience, in the best sense, but one of the undiscovered gems of the European summer season.

BBC Prom 37: A transcendent L’enfance du Christ at the Albert Hall

Notwithstanding the cancellation of Dame Sarah Connolly and Sir Mark Elder, due to ill health, and an inconsiderate audience in moments of heightened emotion, this performance was an unequivocal joy, wonderfully paced and marked by first class accounts from four soloists and orchestral playing from the Hallé that was the last word in refinement.

Tannhäuser at Bayreuth

Stage director Tobias Kratzer sorely tempts destruction in his Bayreuth deconstruction of Wagner’s delicate Tannhäuser, though he was soundly thwarted at the third performance by conductor Christian Thielemann pinch hitting for Valery Gergiev.

Opera in the Quarry: Die Zauberflöte at St Margarethen near Eisenstadt, Austria

Oper im Steinbruch (Opera in the Quarry) presents opera in the 2000 quarry at St Margarethen near Eisenstadt in Austria. Opera has been performed there since the late 1990s, but there was no opera last year and this year is the first under the new artistic director Daniel Serafin, himself a former singer but with a degree in business administration and something of a minor Austrian celebrity as he has been on the country's equivalent of Strictly Come Dancing twice.

BBC Prom 39: Sea Pictures from the BBC National Orchestra of Wales

Sea Pictures: both the name of Elgar’s five-song cycle for contralto and orchestra, performed at this BBC Prom by Catriona Morison, winner of the Cardiff Singer of the World Main Prize in 2017, and a fitting title for this whole concert by the BBC National Orchestra of Wales conducted by Elim Chan, which juxtaposed a first half of songs of the sea, fair and fraught, with, post-interval, compositions inspired by paintings.

BBC Prom 32: DiDonato spellbinds in Berlioz and the NYO of the USA magnificently scales Strauss

As much as the Proms strives to stand above the events of its time, that doesn’t mean the musicians, conductors or composers who perform there should necessarily do so.

OPERA TODAY ARCHIVES »

Reviews

21 Mar 2016

Benjamin, Dernière Nuit in Lyon

That’s Walter Benjamin of the Frankfort School [philosophers in the interwar period (WW’s I and II) who were at home neither with capitalism, fascism or communism].

The Final Night of Walter Benjamin

A review by Michael Milenski

Above: Philosophers Walter Benjamin and Max Horkheimer [Photos courtesy of Opéra de Lyon, copyright Stofleth]

 

The libretto was created by Régis Dubray (b. 1940), professor of philosophy at the University of Lyon, the music was created by Michel Tabachnik (b. 1942), conductor of the Brussels Philharmonic and champion of the music of Xenakis and Ligeti.

Both men possess extensive catalogues of original literary and musical compositions. Both men possess biographies placing themselves at the epicenters of our previous century’s social, intellectual and artistic avant-garde.

Add to this primordial soup British stage director John Fulljames and British set designer Michael Levine (and you have the usual addition of Anglo-Saxon critical know-how to make sense of esoteric continental thought).

You get the idea — it wasn’t an easy evening.

Benjamin3.pngActor Walter Benjamin and singer Walter Benjamin with bottle(s) of morphine tablets

However its ninety minute duration flew by in what seemed like ten minutes even though it was in ponderous, docudrama episodic form. There were 14 brief scenes documenting Walter Benjamin’s arrival and sojourn of one long evening at a Spanish hotel just across the French border. He was on his way to Lisbon where he would have embarked to the United States. Instead he committed suicide at this hotel.

The opera is his progression from life to death. The libretto imagines Benjamin’s suicide vigil encounters (imagined) with a few of the intellectual luminaries who had supported him in his escape and exile from Nazi Germany, namely Arthur Koestler (anti-Fascist author of Darkness at Noon), Gershom Sholem (German born Israeli mystical philosopher), André Gide, Bertolt Brecht, Max Horkheimer (interwar director of Frankfurt School of Critical Thinking, this institute later in exile at Columbia University together with Horkheimer), Asja Lacis (Benjamin’s mistress — a Latvian actress, avid communist, friend of Brecht) and Hanna Arendt (refugee German Jew, naturalized American political scientist).

Benjamin2.pngThe library/museum of human artifacts (below), video of Third Reich marching soldiers (above)

Yes, it was a lot to think about, the libretto projected high above the stage. The upper part of the stage itself was a huge three-sided box onto which were projections of Nazi and Stalin era propaganda films. The lower stage a huge three sided room of library shelves — books, artifacts, the above characters stuffed onto these shelves except when they came alive in Benjamin’s imaginings. Plus there were two Walter Benjamins, one a singer and the other an actor, sometimes one, sometimes the other, sometimes both being Benjamin. Not to mention eight ninjas (clothed in black) who were sometimes French Foreign Legionnaires and sometimes archivists of the above library. Plus there was a myriad of supporting roles divided among actors and singers.

Conceptual and visual cacophony, from beginning to end.

And, well, the music itself. There was a lot of it and a lot of it was musique concrete [a montage of any possible recorded sound] when it was not usually unidentifiable masses of orchestral sounds — triple or quadruple winds, full complement of strings, piano and harp, legions of percussion instruments, accordion, etc. No doubt is was more organized and structured than this quick appreciation of its general cacophony.

The genius of the production was however the seamless integration of the pit and the stage into a indecipherable, inexplicable, undefinable frenetic whole the magic of which created quite a wallop.

The Opéra de Lyon went for broke. We, the audience, roared our appreciation and roared some more, though I’m not sure how many of us would opt to see it a second time.

By the way, Benjamin, Dernière Nuit was one of three operas that comprise the Opéra de Lyon’s midwinter festival, this year entitled Festival pour l’Humanité with its theme of tolerance. This production rose well above such a prosaic formula, and succeeded in making art — an accomplishment not always achieved in opera houses these days.

Michael Milenski


Casts and production information:

Walter Benjamin (singer): Jean-Noël Briend; Walter Benjamin (actor): Sava Lolov; Asja Lacis: Michaela Kustekova; Hannah Arendt: Michaela Selinger; Arthur Koestler: Charles Rice; Gershom Sholem: Scott Wilde; Bertolt Brecht; Jeff Martin; André Gide; Gilles Ragon; Max Horkheimer: Karoly Szemeredy; Mme Henny Gurland: Elsa Rigmor Thiemann; La chanteuse de cabaret: Goele de Raedt; Joseph Gurland: Baptiste Mansot; Le Patron de l'Auberge: Emmanuel Amado; Le Médecin: Bruno Froment. Chorus and Orchestra of the Opéra de Lyon. Conductor: Bernhard Kontarsky; Mise en scène: John Fulljames; Scenery: Michael Levine; Costumes: Christina Cunningham; Lighting: James Farncombe; Chorégraphie: Maxine Braham; Vidéo: Will Duke; Son: Carolyn Downing. Opéra de Lyon (France), March 18, 2016.



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):