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

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?

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?

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 ...

O18: Unsettling, Riveting Sky on Swings

Opera Philadelphia’s annual festival set the bar very high even by its own gold standard, with a troubling but mesmerizing world premiere, Sky on Wings.

Simon Rattle — Birtwistle, Holst, Turnage, and Britten

Sir Simon Rattle and the London Symphony Orchestra marked the opening of the 2018-2019 season with a blast. Literally, for Sir Harrison Birtwistle's new piece Donum Simoni MMXVIII was an explosion of brass — four trumpets, trombones, horns and tuba, bursting into the Barbican Hall. When Sir Harry makes a statement, he makes it big and bold !

OPERA TODAY ARCHIVES »

Performances

Sally Matthews as Konstanze [Photo by Craig. T. Matthew]
04 Feb 2017

A New Look at Mozart’s Abduction from the Seraglio

On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.

A New Look at Mozart’s Abduction from the Seraglio

A review by Maria Nockin

Above: Sally Matthews as Konstanze

Photos by Craig. T. Matthew

 

When first produced in 1782 in Vienna, Wolfgang Amadeus Mozart’s singspiel, The Abduction from the Seraglio, was as popular as New York City’s current hit show, Hamilton. On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of the Mozart singspiel that places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English. There were English titles for the musical numbers but not for the dialogue. Allen Moyer’s set consisted of two cars and the vestibule that connected them. At the back of the set was the row of windows normally found on a train and beyond them the scenery flew by as the train sped from one city to another.

Anna R. Oliver’s costumes transformed Librettists Christoph Friedrich Bretzner and Johann Gottlieb Stephanie’s European characters into chic flappers and jauntily dressed beaux. Turkish overseer, Osmin, sung by bass Morris Robinson wore a false belly and a coat over enormously full pants but his boss, Pasha Selim, wore a western business suit.

Abduction_LA_02.pngBrenton Ryan as Pedrillo, Joel Prieto as Belmonte and Morris Robinson as Osmin

Like The Magic Flute, Abduction demands extraordinarily talented singers. The leading soprano, Konstanze, has to encompass an enormous range that includes trills, triplets, and dramatic declamation such as one hears from Fiordiligi in Cosi fan Tutte. British soprano Sally Matthews had all the vocal goods and displayed them in magnificent style on Saturday evening.

Puerto Rican tenor Joel Prieto sang the role of her lover, Belmonte, with oboe-like tones that always seemed to come from the exact center of the note. The part of Osmin, the riotously funny Turkish overseer, requires a bass who can sing the lowest possible notes. Morris Robinson, a veteran Sarastro, sang some of the lowest notes ever heard on the opera stage with style and grace.

Abduction_LA_03.pngMorris Robinson as Osmin fails to tame So Young Park as Blonde

So Young Park was a brunette “Blondie.” Perhaps the art of bleaching had not yet reached Istanbul. Park’s comic timing was right on cue and her well focused sweet tones carried well in the auditorium. Brenton Ryan as her lover, Pedrillo, showed signs of having been beaten into submission by Osmin and his thugs, but he sang his tuneful aria with abandon.

The crucial role of the Pasha who eventually releases the two couples is reserved for an actor. Tall and athletic looking Hamish Linklatter spoke these lines: “Nothing is as ugly as vengeance, whereas the quality of great souls is to be humanely kind and forgive without selfishness.” With this speech, he sent Belmonte back to his father, the man who had robbed the Pasha of his property in Spain.

Music Director James Conlon not only conducted the performance but also gave the pre-curtain lecture for this seldom-performed Mozart gem. A show of hands in the lecture hall told me that a large majority of the audience had never seen Abduction before, so this well-cast, interesting production did a great deal for the future of the opera. Conlon led the performance with propulsive tempi that never lagged and presented Robinson’s comedy at a brisk pace. The Abduction from the Seraglio is a fascinating show and opera lovers in the Los Angeles area should not miss it.

Maria Nockin


Cast and production information:

Conductor, James Conlon; Director, James Robinson; Set Design, Allen Moyer; Costume Design, Anna R. Oliver; Lighting Design, Paul Palazzo; Chorus Director, Grant Gershon; Konstanze, Sally Matthews; Pasha Selim, Hamish Linklatter; Belmonte Joel Prieto; Osmin, Morris Robinson; Pedrillo, Brenton Ryan; Blonde, So Young Park; Solo Quartet: Christina Borgioli, Elizabeth Anderson, Omar Cook, James Martin Schaefer; English Titles, Houston Grand Opera.

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):