Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Summer madness and madcap high jinxs from the Jette Parker Young Artists

The operatic extracts which comprised this year’s Jette Parker Young Artists Summer Performance seemed to be joined by a connecting thread - madness: whether that was the mischievousness of Zerbinetta’s comedy troupe, the insanity of Tom Rakewell, the metaphysical distress of Hamlet, or the mayhem prompted by Isabella’s arrival at Mustafà’s Ottoman palace, the ‘insanity’ was equally compelling.

Mefistofele at Orange’s Chorégies

This is the one where a very personable devil tells God that mankind is so far gone it isn’t worth his time to bother corrupting it further.

Mascagni's Isabeau rides again at Investec Opera Holland Park

There seemed to me to be something distinctly Chaucerian about Martin Lloyd-Evans’ new production of Mascagni’s Isabeau (the first UK production of the opera) for Investec Opera Holland Park.

The 2018 BBC Proms opens in flamboyant fashion

Anniversaries and commemorations will, as usual, feature significantly during the 2018 BBC Proms, with the works of Leonard Bernstein, Claude Debussy and Lili Boulanger all prominently programmed during the season’s myriad orchestral, vocal and chamber concerts.

Banff’s Hell of an Orphée+

Against the Grain Theatre brought its award winning adaptation of Gluck’s opera to the Banff Festival billed as “an electronic baroque burlesque descent into hell.”

A Choral Trilogy at the Aix Festival

What Seven Stones (the amazing accentus / axe 21), and Dido and Aeneas (the splendid Ensemble Pygmalion) and Orfeo & Majnun (the ensemble [too many to count] of eleven local amateur choruses) share, and virtually nothing else, is spectacular use of chorus.

Vintage Audi — Parsifal, Kaufmann, Pape

From the Bayerisches Staatsoper Munich, Wagner Parsifal with a dream cast - René Pape, Jonas Kaufmann and Nina Stemme, Christian Gerhaher and Wolfgang Koch, conducted by Kirill Petrenko, directed by Pierre Audi. The production is vintage Audi - stylized, austere, but solidly thought-through.

Flight Soars High in Des Moines

Jonathan Dove’s innovative opera Flight is being lavished with an absolutely riveting new production at Des Moines Metro Opera’s resoundingly successful 2018 Festival.

Fledermaus Pops the Cork in Iowa

Like a fizzy bottle of champagne, Des Moines Metro Opera uncorked a zesty tasting of Johan Strauss’s vintage Die Fledermaus (The Bat).

A spritely summer revival of Falstaff at the ROH

Robert Carson’s 2012 ROH Falstaff is a bit of a hotchpotch, but delightful nevertheless. The panelled oak, exuding Elizabethan ambience, of the first Act’s gravy-stained country club reeks of the Wodehouse-ian 1930s, but has also has to serve as the final Act’s grubby stable and the Forest of Windsor, while the central Act is firmly situated in the domestic perfection of Alice Ford’s 1950s kitchen.

Down on the Farm with Des Moines’ Copland

Ingenious Des Moines Metro Opera continued its string of site-specific hits with an endearing production of Aaron Copland’s The Tender Land on the grounds of the Maytag Dairy farm.

Des Moines’ Ravishing Rusalka

Let me get right to the point: This is the Rusalka I have been waiting for all my life.

L'Ange de feu (The Fiery Angel)
in Aix

Prokofiev’s Fiery Angel is rarely performed. This new Aix Festival production to be shared with Warsaw’s Teatr Wielki exemplifies why.

Ariane à Naxos (Ariadne auf Naxos) in Aix

Yes, of course British stage director Katie Mitchell served up Richard Strauss’ uber tragic Ariadne on Naxos at a dinner table. Over the past few years Mme. Mitchell has staged quite a few household tragedies at the Aix Festival, mostly at dinner tables, though some on doorsteps.

The Skating Rink: Garsington Opera premiere

Having premiered Roxanna Panufnik’s opera Silver Birch in 2017 as part of its work with local community groups, Garsington Opera’s 2018 season included its first commission for the main opera season. David Sawer's The Skating Rink premiered at Garsington Opera this week; the opera is based on the novel by Chilean writer Roberto Bolano with a libretto by playwright Rory Mullarkey.

Madama Butterfly at the Princeton Festival

The Princeton Festival brings a run of three high-quality opera performances to town each summer, alternating between a modern opera and a traditional warhorse. John Adams’ Nixon in China has been announced for next summer. So this year Princeton got Giacomo Puccini’s Madama Butterfly, for which the Festival assembled an impressive cast and delivered a polished performance.

‘Schiff’s Surprise’: Haydn

Many of the ingredients for a memorable concert were there, or so they initially seemed to be. Alas, ultimately what we learned more clearly than anything else was that the Orchestra of the Age of Enlightenment’s new Principal Artist, András Schiff, is no conductor.

Recital of French song from Véronique Gens and Susan Manoff

It came as quite a surprise throughout much of the first half of this recital of French song, that it was the piano-playing of Susan Manoff that made the greater impression upon me than the singing of Véronique Gens.

Pelléas et Mélisande: Glyndebourne Festival Opera

What might have been? Such was a thought that came to my mind more than once during this, the premiere of Glyndebourne’s new Pelléas et Mélisande. What might have been if Stefan Herheim had not changed his Konzept so late in the day? (I had actually forgotten about that until reminded during the interval, yet had already began to wonder whether the production had been, especially for him, unusually rushed.)

Mozart: Don Giovanni, Royal Opera House

There is something very Danish about this Don Giovanni. It isn’t just that the director, Kasper Holten is a Dane, it’s also that the existential, moral and psychological questions Holten asks point to Kierkegaard who wrote of the fusion of the erotic and demonic in this opera in his work Either/Or (1843). However, I’ve rarely, if ever, encountered a production of Don Giovanni - even Bieito’s notorious one for ENO - where Mozart comes off as second best.

OPERA TODAY ARCHIVES »

Performances

Tannhäuser by Tim Albery
28 Apr 2016

Tannhäuser: Royal Opera House, London

London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.

Tannhäuser: Royal Opera House, London

A review by Mark Berry

Above image by Tim Albery

 

True, Opera North will bring its concert Ring to the South Bank, but that is a somewhat different matter. Comparisons with serious houses, let alone serious cities, are not encouraging, especially if one widens the comparison to nineteenth-century Italian composers. Quite why is anyone’s guess; the composer is anything but unpopular. More to the point, Wagner and Mozart should stand at the heart of any opera house’s repertory. They can hardly do so if they are so rarely performed.

I mention that not only because it is very important in itself, but because it has serious implications for orchestras. What used to be Bernard Haitink’s orchestra has had a rougher time of things since his departure. Whilst a great conductor - Semyon Bychkov, for instance, in the first run of this production, or more recently, in Die Frau ohne Schatten - can still summon truly great things from the Orchestra of the Royal Opera House, its day-to-day experience of core German repertory is fading. Here, under Hartmut Haenchen, there were no particular upsets, but there were only hints at what the orchestra has been capable of, and still might be. Haenchen’s conducting had its moments, but it was the heavenly lengths, and how they might fit together, that were lacking. A penny-plain opening to the Overture suggested ‘authenticist’ tendencies, as if Haenchen would rather be conducting the Dresden Tannhäuser, albeit conducting it a little like ‘period’ Mendelssohn. When it came to the music written for Paris, he seemed to linger and to rush, somewhat arbitrarily. There is stylistic ‘incongruity’, yes, if we want to call it that, but should we not be making something of that, even making it into a virtue?

I suspect that Haenchen’s tempi were, on balance, considerably quicker than Bychkov’s; that was certainly not how it felt, especially in the Venusberg, whose pleasures seemed at times interminable (in the wrong sense). Indeed, the exchanges between Tannhäuser and Venus often sounded alarmingly perfunctory, robbed not only of orchestral ‘cushioning’, but of the direction that Wagner’s orchestra-as-Greek Chorus, even at this stage in his career, offers. Of Beethoven, at least as Wagner would have understood him, there was little: perhaps there was, however, of fashionable, ‘period’ Beethoven-cut-down-to-size. Compared to the most recent other Tannhäuser I had heard, superlatively conducted by Daniel Barenboim in Berlin, this was disappointing.

Disappointing in that very important respect, anyway. There was much more to savour vocally. Peter Seiffert gave a strange performance in the title role: it came and went, seemingly without reason, sometimes, especially in the first act, alarmingly out of tune, at other times spot on, always tireless, even when, understandably, his voice acquired something of an edge in parts of the Rome Narration (movingly despatched). Emma Bell was a wonderful Elisabeth; I do not think I have heard anything finer from her. Sincere but certainly not bland, this Elisabeth’s vocal qualities were subtle yet, where necessary (and it often is!), powerful. Sophie Koch’s Venus was ravishingly sung, words and music in excellent, dramatically productive, balance. Christian Gerhaher’s Wolfram is a known quantity to many of us, of course, but no less welcome was it for that. The startling, almost indecent, yet utterly sincere, beauty of Gerhaher’s delivery was once again something for all to remember. There was no need to force the performance; he could draw us in so as to hear a pin drop. Phrasing was just as exemplary. Ed Lyon’s sweetly-sung, dramatically-committed Walther was another pleasure; if only he had had more to sing. Thank goodness, at least, Walther’s solo, only cut from Paris because the tenor could not sing it, was restored. Stephen Milling's sonorous Landgrave was, quite rightly, especially acclaimed by the audience. Young Raphael Janssens acquitted himself well as the Shepherd Boy. So did the chorus (and extra chorus) of Renato Balsadonna, although I think there was greater precision, and perhaps greater weight, under Bychkov in 2010.

Tim Albery’s production does not seem to have changed very much. The Venusberg scene is strongest, the ballet well choreographed by Jasmin Vardimon. It might have been a little raunchier - Wagner’s music here is, after all, the supreme musical manifestation of desperately trying and failing to achieve sexual climax - but it works well enough. The sense of the Royal Opera House being on stage is interesting in this opera. In a work whose central event is a song contest, who is performing, and why? Alas, nothing is really followed through, so that one cannot even really tell whether such metatheatrical possibilities are intended. We end up with little more than a mild compendium of clichés. One bizarre exception is the appearance of cowbells - there is, frankly, little to see - when Tannhäuser first returns to ‘normality’. Their lack of coordination would have been irritating in Mahler, but here, in Tannhäuser? If I had been Haenchen, or the house, I should have put a stop to it. This was not some interesting musical recomposition; it was just a bit of a mess. The war-torn (Balkan?) setting of the second act I presume to have taken its cue from the Landgrave’s ‘Wenn unser Schwert in blutig ernstern Kämpfen stritt für des deutschen Reiches Majestät’. It would be a stretch, however, to say that post-war deprivation was what Tannhäuser might really be ‘about’, at least without some further work on the director’s part. Albery seems content to let Michael Levine’s set designs do the work for him, which of course they cannot. The third act carries on in much the same way. Very much worth hearing for most of the singing, then, but a restricted view would not penalise you unduly.

Mark Berry


Cast and production information:

Tannhäuser: Peter Seiffert; Elisabeth: Emma Bell; Venus: Sophie Koch; Wolfram von Eschenbach: Christian Gerhaher; Hermann, Landgrave of Thuringia - Stephen Milling; Biterolf: Michael Kraus; Walther von der Vogelweide: Ed Lyon; Heinrich der Schreiber: Samuel Sakker; Reimar von Zweter: Jeremy White; Shepherd Boy: Raphael Janssens; Elisabeth’s Attendants: Kiera Lyness, Deborah Peake-Jones, Louise Armit, Kate McCarney. Tim Albery (director); Jasmin Vardimon (choreography, Venusberg scene); Michael Levine (set designs); Jon Morrell (costumes); David Finn (lighting); Maxime Braham (movement). Royal Opera Chorus and Extra Chorus (chorus master: Renato Balsadonna); Orchestra of the Royal Opera House/Hartmut Haenchen (conductor). Royal Opera House, Covent Garden, London, Tuesday 26 April 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):