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

Covent Garden’s Otello: Superb singing defies Warner’s uneven production

I have seen productions of Verdi’s Otello which have been revolutionary, even subversive. I have now seen one which is the complete antithesis of that.

Solomon’s Knot: Charpentier - A Christmas Oratorio

When Marc-Antoine Charpentier returned from Rome to Paris in 1669 or 1670, he found a musical culture in his native city that was beginning to reject the Italian style, which he had spent several years studying with the Jesuit composer Giacomo Carissimi, in favour of a new national style of music.

A Baroque Odyssey: 40 Years of Les Arts Florissants

In 1979, the Franco-American harpsichordist and conductor, William Christie, founded an early music ensemble, naming it Les Arts Florissants, after a short opera by Marc-Antoine Charpentier.

Miracle on Ninth Avenue

Gian Carlo Menotti’s holiday classic, Amahl and the Night Visitors, was the first recorded opera I ever heard. Each Christmas Eve, while decorating the tree, our family sang along with the (still unmatched) original cast version. We knew the recording by heart, right down to the nicks in the LP. Ever since, no matter what the setting or the quality of a performance, I cannot get through it without tearing up.

Detlev Glanert: Requiem for Hieronymus Bosch (UK premiere)

It is perhaps not surprising that the Hamburg-born composer Detlev Glanert should count Hans Werner Henze as one of the formative influences on his work - he did, after all, study with him between 1984 to 1988.

Death in Venice at Deutsche Oper Berlin

This death in Venice is not the end, but the beginning.

Saint Cecilia: The Sixteen at Kings Place

There were eighteen rather than sixteen singers. And, though the concert was entitled Saint Cecilia the repertoire paid homage more emphatically to Mary, Mother of Jesus, and to the spirit of Christmas.

Liszt Petrarca Sonnets complete – Andrè Schuen, Daniel Heide

An ambitious new series focusing on the songs of Franz Liszt, starting with all three versions of the Tre Sonetti del Petrarca, (Petrarca Sonnets), S.270a, S.270b and S.161 with Andrè Schuen and Daniel Heide for Avi-music.de.

Insights on Mahler Lieder, Wigmore Hall, Andrè Schuen

At the Wigmore Hall, Andrè Schuen and Daniel Heide in a recital of Schubert and Mahler’s Lieder eines fahrenden Gesellen and Rückert-Lieder. Schuen has most definitely arrived, at least among the long-term cognoscenti at the Wigmore Hall who appreciate the intelligence and sensitivity that marks true Lieder interpretation.

Ermelinda by San Francisco's Ars Minerva

It’s an opera by Vicentino composer Domenico Freschi that premiered in 1681 at the country home of the son of the doge of Venice. Villa Contarini is a couple of hours on horseback from Vicenza, and a few hours by gondola from Venice).

Wozzeck in Munich

It would be an extraordinary, even an unimaginable Wozzeck that failed to move, to chill one to the bone. This was certainly no such Wozzeck; Marie’s reading from the Bible, Wozzeck’s demise, the final scene with their son and the other children: all brought that particular Wozzeck combination of tears and horror.

Une soirée chez Berlioz – lyrical rarities, on Berlioz’s own guitar

Une soirée chez Berlioz – an evening with Berlioz, songs for voice, piano and guitar, with Stéphanie D’Oustrac, Thibaut Roussel (guitar), and Tanguy de Williencourt (piano).

Korngold's Die tote Stadt in Munich

I approached this evening as something of a sceptic regarding work and director. My sole prior encounter with Simon Stone’s work had not been, to put it mildly, a happy one. Nor do I count myself a subscriber or even affiliate to the Korngold fan club, considerable in number and still more considerable in fervency.

Exceptional song recital from Hurn Court Opera at Salisbury Arts Centre

Thanks to the enterprise and vision of Lynton Atkinson - Artistic Director of Dorset-based Hurn Court Opera - two promising young singers on the threshold of glittering careers gave an outstanding recital at Salisbury’s prestigious Art Centre.

Lohengrin in Munich

An exceptional Lohengrin, this. I had better explain. Yes, it was exceptional in the quality of much of the singing, especially the two principal female roles, yet also in luxury casting such as Martin Gantner as the King’s Herald.

Hansel and Gretel in San Francisco

This Grimm’s fairytale in its operatic version found its way onto the War Memorial stage in the guise of a new “family friendly” production first seen last holiday season at London’s Royal Opera House.

An hypnotic Death in Venice at the Royal Opera House

Spot-lit in the prevailing darkness, Gustav von Aschenbach frowns restively as he picks up an hour-glass from a desk strewn with literary paraphernalia, objects d’art, time-pieces and a pair of tall candles in silver holders - by the light of which, so Thomas Mann tells us in his novella Death in Venice, the elderly writer ‘would offer up to art, for two or three ardently conscientious morning hours, the strength he had garnered during sleep’.

A Baroque Christmas from Harmonia Mundi

A baroque Christmas from Harmonia Mundi, this year’s offering in their acclaimed Christmas series. Great value for money - four CDs of music so good that it shouldn’t be saved just for Christmas. The prize here, though is the Pastorale de Noël by Marc-Antoine Charpentier with Ensemble Correspondances, with Sébastien Daucé, highly acclaimed on its first release just a few years ago.

Philip Glass's Orphée at English National Opera

Jean Cocteau’s 1950 Orphée - and Philip Glass’s chamber opera based on the film - are so closely intertwined it should not be a surprise that this new production for English National Opera often seems unable to distinguish the two. There is never a shred of ambiguity that cinema and theatre are like mirrors, a recurring feature of this production; and nor is there much doubt that this is as opera noir it gets.

Rapt audience at Dutch National Opera’s riveting Walküre

“Don’t miss this final chance – ever! – to see Die Walküre”, urges the Dutch National Opera website.

OPERA TODAY ARCHIVES »

Reviews

23 Aug 2017

Lady Macbeth of Mtsensk in Salzburg

The well-to-do merchant life of the opera’s small Russian town of Czarist times translocated to a monumental, socialistically heroic, concrete slum block.

Lady Macbeth von Mzensk at the Salzburg Festival

A review by Michael Milenski

Above: Eugenia Muraveva as Katerina, Brandon Jovanovich as Sergej [All photos copyright by the Salzburger Festspiele / Thomas Aurin]

 

Though it really was not crumbling, decaying socialist housing, it was actually a vagina shaped cavity into which thrust two phallic platforms, in and out repeatedly throughout this long, loud, gross evening.

Shostakovich’s cheeky opera meant to impress Soviet authorities with politically correct attitudes backfired at its premiere, and Shostakovich was artistically sidelined for years. Just now stage director Andreas Kriegenberg’s extreme re-imagining of the piece in monumental uber-expressionistic terms, meant as well to be politically correct and impress the sophisticated Salzburg Festival audience, backfired as well.

Without comment on current, hackneyed socio-artistic platitudes let me simply attribute the misfortune that beset Herr Kriegenberg’s production to the common cold and attendant laryngitis. Heroically voiced soprano Nina Stemme, indisposed, sang but the first two of five performances. She was replaced for the remaining performances by the sweetly voiced rape victim of the opera's second scene, Russian mezzo soprano Evgenia Muraveva.

Make no mistake. Mlle. Muraveva is already a first-class Katerina Ismailowa. She is young and pretty and has a beautiful lyric voice, ideal for a straight forward take on life in czarist Russia by a young, sympathetic and erotically motivated Soviet composer.

But with cast concrete sets soaring 20 meters (60 ft) into the loft of the Grosses Festspielhaus, with two suspended phallic appendages charging in and out, with high powered character singers in all other roles, and with the super-charged Vienna Philharmonic in the pit this fine young artist was out of her depth.

Thus the production failed.

My suspicion is that Nina Stemme was the key to Herr Kriegenberg’s production. Mme. Stemme is not a simple woman. She is both Brünnhilde and Elektra, and she is well able to scale the heights of Herr Kriegenberg’s socialist Valhalla in all its putrid glory.

Mtensk_Salzburg3.pngNina Stemme as Katerina, Stanislav Trofimov as the Pope

And it was indeed putrid. Shostakovich’s opera is famously pornographic. Mr. Kriegenberg, abetted by conductor Mariss Jansons made sex as ugly as it could possibly be in scenes of anal penetration, colossal, collective humping. Not that there were not some light, kitsch touches. The arrested atheist who proclaims that frogs have souls was a Shostakovich look alike, the policemen effeminately cooked, wove and crocheted, the priest was dead drunk, etc.

Mtsensk_Salzburg2.pngNina Stemme as Katerina, Brandon Jovanovich as Sergey

And further kitsch — there was sperm everywhere — flying feathers of pillows ripped apart, hundreds of little phallus sized cans of aerosol spewing thousands of tiny bubbles, bottles dispelling liquid through narrow necks. And so on.

I would have loved to have been offended and amused by such grossness. Overheard comments at the intermission noted that it was indeed an “extreme” production. And finally Mlle. Muraveva’s Lady Macbeth was greatly appreciated by audiences. But as it was I was disappointed that the Salzburg Festival did not respect Herr Kriegenberg’s production enough to find an appropriate replacement for Mme. Stemme.

Michael Milenski


Cast and production information:

Evgenia Muraveva: Katerina Lvovna Izmaylova; Dmitry Ulyanov: Boris Timofeyevich Izmaylov; Maxim Paster: Zinowy Borisovich Izmaylov; Brandon Jovanovich: Sergey;
Tatiana Kravtsova: Aksinya / Woman Convict; Andrei Popov: Shabby Peasant; Oleg Budaratskiy: Porter / Sentry; Igor Onishchenko; Millhand Vasily Efimov: Coachman / Teacher; Stanislav Trofimov: Pope; Alexey Shishlyaev: Chief of Police; Valentin Anikin: Policeman / Officer; Ksenia Dudnikova: Sonyetka; Andrii Goniukov: Old Convict; Gleb Peryazev: Manager; Martin Müller: First Worker; Oleg Zalytskiy: Second Worker / Drunken Guest; Ilya Kutyukin: Third Worker. Chorus of the Vienna Statsoper; Vienna Philharmonic. Mariss Jansons: Conductor; Andreas Kriegenburg: Director; Harald B. Thor: Sets; Tanja Hofmann: Costumes; Stefan Bolliger: Lighting; Christian Arseni: Dramaturgy. Grosses Festspielhaus, Salzburg Festival, Salzburg, August 21, 2017.


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):