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 Reviews

Daniel Michieletto's Cav and Pag returns to Covent Garden

It felt rather decadent to be sitting in an opera house at 12pm. Even more so given the passion-fuelled excesses of Pietro Mascagni’s Cavalleria Rusticana and Ruggero Leoncavallo’s Pagliacci, which might seem rather too sensual and savage for mid-day consumption.

Manitoba Opera: Madama Butterfly

Manitoba Opera opened its 45th season with Puccini’s Madama Butterfly proving that the aching heart as expressed through art knows no racial or cultural divide, with the Italian composer’s self-avowed favourite opera still able to spread its poetic wings across time and space since its Milan premiere in 1904.

Ian Bostridge and Julius Drake celebrate 25 years of music-making

In 1992, concert promoter Heinz Liebrecht introduced pianist Julius Drake to tenor Ian Bostridge and an acclaimed, inspiring musical partnership was born. On Wenlock Edge formed part of their first programme, at Holkham Hall in Norfolk; and, so, in this recital at Middle Temple Hall, celebrating their 25 years of music-making, the duo included Vaughan Williams’ Housman settings for tenor, piano and string quartet alongside works with a seventeenth-century origin or flavour.

Girls of the Golden West in San Francisco

Not many (maybe any) of the new operas presented by San Francisco Opera over the past 10 years would lure me to the War Memorial Opera House a second time around. But for Girls of the Golden West just now I would be there again tomorrow night and the next, and I am eagerly awaiting all future productions.

DiDonato is superb in Semiramide at Covent Garden

It’s taken a while for Rossini’s Semiramide to reach the Covent Garden stage. The last of the operas which Rossini composed for Italian theatres between 1810-1823, Semiramide has had only one outing at the Royal Opera House since 1887, and that was a concert version in 1986.

Hans Werner Henze Choral Music

Hans Werner Henze works for mixed voice and chamber orchestra with SWR Vokalensemble and Ensemble Modern, conducted by Marcus Creed. Welcome new recordings of important pieces like Lieder von einer Insel (1964), Orpheus Behind the Wire (1984) plus Fünf Madrigale (1947).

Philippe Jaroussky and Ensemble Artaserse at the Wigmore Hall

‘His master’s masterpiece, the work of heaven’: ‘a common fountain’ from which flow ‘pure silver drops’. At the risk of effulgent hyperbole, I’d suggest that Antonio’s image of the blessed governance and purifying power of the French court - in the opening scene of Webster’s The Duchess of Malfi - is also a perfect metaphor for the voice of French countertenor Philippe Jaroussky, as it slips through Handel’s roulades like a silken ribbon.

La Rondine Takes Flight in San Jose

Kudos to San Jose Opera for offering up a wholly winning, consistently captivating new production of Puccini’s seldom performed La Rondine.

Bettina Smith, Norwegian Mezzo, in Songs by Fauré and Debussy

Here are five complete song sets by two of the greatest masters of French song. The performers are highly competent. I should have known, given the rave reviews that their 2015 recording of modern Norwegian songs received.

Clonter Opera Gala

Clonter’s Opera Gala in the breath-taking beautiful ball-room at the Lansdowne Club in Mayfair was a glamorously glittering smattering of opera – which made me want to run out to every opera in town.  

Étienne-Nicolas Méhul: Uthal

The opera world barely knows how to handle works that have significant amounts of spoken dialogue. Conductors and stage directors will often trim the dialogue to a bare minimum (Magic Flute), have it rendered as sung recitative (Carmen), or have it spoken in the vernacular though the sung numbers may often be performed in the original language (Die Fledermaus).

A New Anna Moffo?: The Debut Disc of Aida Garifullina

Here is the latest CD from a major label promoting a major new soprano. Aida Garifullina is utterly remarkable: a lyric soprano who also can handle coloratura with ease. Her tone has a constant shimmer, with a touch of quick, narrow vibrato even on short notes.

A New Die Walküre at Lyric Opera of Chicago

From the start of Lyric Opera of Chicago’s splendid, new production of Richard Wagner’s Die Walküre conflict and resolution are portrayed throughout with moving intensity. The central character Brünnhilde is sung by Christine Goerke and her father Wotan by Eric Owens.

As One a Haunting Success in San Diego

San Diego Opera has mined solid gold with its mesmerizing and affecting production of As One, a part of their innovative ‘Detour Series.’

OLF: Songs by Tchaikovsky, Anton Rubinstein, Rachmaninov and Georgy Sviridov

Compared to the oft-explored world of German lieder and French chansons, the songs of Russia are unfairly neglected in recordings and in the concert hall. The raw emotion and expansive lyricism present in much of this repertoire was clearly in evidence at the Holywell Music Room for the penultimate day of the celebrated Oxford Lieder Festival.

Stockhausen’s STIMMUNG and COSMIC PULSES at the Barbican.

This concert was an event on several levels - marking a decade since the death of Stockhausen, the fortieth anniversary (almost to the day) since Singcircle first performed STIMMUNG (at the Round House), and their final public performance of the piece. It was also a rare opportunity to hear (and see) Stockhausen’s last completed purely electronic work, COSMIC PULSES - an overwhelming visual and aural experience that anyone who was at this concert will long remember.

Bampton Classical Opera Young Singers’ Competition 2017 - Winner Announced

Bampton Classical Opera is pleased to announce that the winner of the 2017 Young Singers’ Competition is mezzo-soprano Emma Stannard and the runner-up is tenor Wagner Moreira. The winner of the accompanists’ prize, a new category this year, is Keval Shah.

Il sogno di Scipione: a new recording from Classical Opera

With this recording of Mozart’s 1771 opera, Il sogno di Scipione (Sicpio’s Dream), Classical Opera continue their progress through the adolescent composer’s precocious achievements and take another step towards the fulfilment of their complete Mozart opera series for Signum Classics.

TOSCA: A Dramatic Sing-Fest

On November 12, 2017, Arizona Opera presented Giacomo Puccini’s verismo opera, Tosca, in a dramatic production directed by Tara Faircloth. Her production utilized realistic scenery from Seattle Opera and detailed costumes from the New York City Opera. Gregory Allen Hirsch’s lighting made the set look like the church of St. Andrea as some of us may have remembered it from time gone by.

The Lighthouse: Shadwell Opera at Hackney Showroom

‘Only make the reader’s general vision of evil intense enough … and his own experience, his own imagination, his own sympathy … and horror … will supply him quite sufficiently with all the particulars. Make him think the evil, make him think it for himself, and you are released from weak specifications.’

OPERA TODAY ARCHIVES »

Reviews

<em>Aida</em>: English National Opera
30 Sep 2017

Aida opens the season at ENO

Director Phelim McDermott’s new Aida at ENO seems to have been conceived more in terms of what it will look like rather than what the opera is or might be ‘about’. And, it certainly does look good. Designer Tom Pye - with whom McDermott worked for ENO’s Akhnaten last year (alongside his other Improbable company colleague, costume designer Kevin Pollard) - has again conjured striking tableaux and eye-catching motifs, and a colour scheme which balances sumptuous richness with shadow and mystery.

Aida: English National Opera

A review by Claire Seymour

Above: ENO Cast and Chorus

Photo credit: Tristram Kenton

 

Of McDermott’s Satyagraha in 2010, one of my colleagues wrote, ‘There are so many amazing images in this production that it’s hard to take them all in at once’. Here, it’s more a case of there are so many diverse visual images that it’s hard to make them come together in any coherent way.

The sets do establish an ‘epic’ mood: coarse-grained rock textures suggest monumental edifices and set off Pollard’s striking fabrics, face-paint and fabulous headdresses (topped with antlers in Act 2!). Bruno Poet’s lighting design is one of the best things about the production. On the poster advertising this opening production of ENO’s 2017/18 season, a blade of light slices through darkness, bouncing off granite to bathe a standing woman, who gazes aloft as if in supplication, in a cone of light. A similar triangle of red dissects the black drop which confronts us at the start, gradually widening and opening up a small geometric space on the wide Coliseum stage. Throughout, Poet sculpts his light like sliding walls, to create mystery. Sometimes diagonal rays sear across the stage; at other times subtle mists shimmer.

Latonia Moore 2 (c) Tristram Kenton.jpg Latonia Moore (Aida). Photo credit: Tristram Kenton.

A prevailing hieroglyph - the ‘breadcone’, designating a ‘gift’ or ‘offering’ - evokes a pyramid. But, that’s just about the only hint of Egypt we get. For, while the visuals are spectacular, they don’t help to ‘tell the story’, and there is no coherent sense of context. A programme article explains McDermott’s thoughts about the period setting, which he describes as ‘a slight mash up’: ‘It’s not ancient and it’s not modern. I’m not dissing the past, but we’ve got modern battle gear and yet priests and temple dancers too. It’s its own world, like a dream which is not real but has its own logic and you can do anything with that as long as you stay within the logic.’

The allusions are indeed eclectic, but I’m not sure I could recognise their ‘logic’. Radamès first appears wearing a gilt braided blue tunic, topped with fur pelisse, worthy of a Napoleonic Hussar, but in the fateful tomb he has ditched his uniform for a grubby grey shirt. The participants in the sacred ritual which prepares the Egyptian general for battle against the Ethiopians seem to have been modelled on the semi-clad women who sit behind the windows of Amsterdam’s red-light district, while the celebrants at the victory procession sport an array of outlandish 30s-style outfits. The priestesses of Isis who await the wedding of Amneris and Radamès look like they have borrowed their red robes from Margaret Atwood’s Handmaids. Amneris herself seems to have got trapped in an outsize origami confection.

Eleanor Dennis, Robert Winslade Anderson and members of Mimbre (c) Tristram Kenton.jpgEleanor Dennis (High Priestess), Robert Winslade Anderson (Ramfis) and members of Mimbre. Photo credit: Tristram Kenton.

Within this smorgasbord of references there is little sense of who the protagonists are, of the love triangle between them, or of the context which pits their love against their loyalty. Static visual images have taken priority over the development of character and relationship. There is scarcely any convincing interaction. The programme offers an account of McDermott’s rehearsal methods: he has encouraged his cast to ‘explore three options: stand still, move forward, or move backwards’.

Most seem to have plumped for the first option. Singers barely look at each other or engage physically; instead, on the whole they stand stock still, facing the audience. Basil Twist’s beautiful silks flutter and billow but the only other movement on stage comes from the dancers and acrobats of Mimbre, who entertain Amneris when she prepares to welcome home Radamès by tumbling light-footedly or forming geometric human sculptures. In the triumphal scene, some of the latter look so complex and potentially precarious that perhaps they should come with a warning, ‘don’t try this at home’.

Gwyn Hughes Jones, members of Mimbre and ENO Chorus (c) Tristram Kenton.jpg Gwyn Hughes Jones (Radamès), members of Mimbre and ENO Chorus. Photo credit: Tristram Kenton.

We have no elephants, but there is some flag-waving and coffin-carrying - and, some terrific trumpet playing from the six onstage players whose gorgeously warm tone glows with an energy that is missing among the artfully positioned but static throng. Indeed, the ENO orchestra play consistently well for Canadian conductor Keri-Lynn Wilson who balances vigour and refinement, injects tension effectively and conjures exoticism and magic at the start of Act 3. The enlarged ENO Chorus produced some beautiful hushed, reverential singing in Act 1.

Aida Latonia Moore 4.jpg Latonia Moore (Aida). Photo credit: Tristram Kenton.

ENO is fortunate in that they have an eponymous Ethiopian princess whose glorious soprano gleams with an intensity to match Poet’s beams of light. American Latonia Moore is simply fabulous: she soars above the rest of the cast - literally and figuratively. When she commenced ‘Ritorna vincitor’, she made one immediately sit up and listen: for the first time we had persuasive, genuine human emotion, and as the performance developed she showed that from the gentlest pianissimo to the plushest fortissimo she could make us believe unwaveringly in Aida’s devotion, defiance, despair and dignity. ‘O patria mia’ was infused with strength and sincerity, and if she seemed a little nervous about the top C that could be forgiven. In Aida’s duet with Amneris, Moore’s soprano blazed radiantly and effortlessly.

Gwyn Hughes Jones’s tenor has plenty of ringing vibrancy. His Radamès is a plausible soldier and makes a confident entrance, sustaining the final Bb well in ‘Celeste Aida’. Even more shine at the top might help to convince us of his passion for Aida and give fervour to his confrontation with Amneris, but Jones has the stamina for the role and the Tomb Scene intimacy is moving, the poignancy of the lovers’ short-lived reunion deepened by the presence of Amneris, watching from above.

Mimbre and MDY.jpg Mimbre and Michelle DeYoung (Amneris). Photo credit: Tristram Kenton.

As Amneris, mezzo Michelle DeYoung seemed to be struggling. Certainly, her Act 1 costume was ‘larger-than-life’ but vocally DeYoung was too ragged and unfocused to convey the tragic princess’s conflicted emotions. It didn’t help that some distorted vowels made the clunky English translation even more cumbersome. De Young’s characterisation was unmodulated and somewhat superficial, though her voice did relax and begin to bloom in the Judgement Scene.

Eleanor Dennis was poised and imperious as the High Priestess, and Robert Winslade Anderson (deputising for the indisposed Brindley Sherratt) and Matthew Best were more than competent as Ramfis and the (white-suited?) Egyptian King respectively. Musa Ngqungwana’s Amonasro wasn’t quite imposing enough; a bit more patriarchal authority was needed.

Whatever misgivings there may be about McDermott’s ‘logic’, if there’s one reason to see this show, it’s the opportunity to hear Moore in a role she has sung to great acclaim many times, including at the Met and the ROH, for her performance confirms her as a lirico spinto of great distinction.

Claire Seymour

Verdi: Aida

Aida - Latonia Moore, Amneris - Michelle DeYoung, Radamès - Gwyn Hughes Jones, Ramfis - Robert Winslade Anderson, Amonasro - Musa Ngqungwana, King - Matthew Best, High Priestess - Eleanor Dennis, Messenger - David Webb; Director - Phelim McDermott, Conductor - Keri-Lynn Wilson, Designer - Tom Pye, Lighting designer - Bruno Poet, Costume designer - Kevin Pollard, Silk effects choreographer - Basil Twist, Movement director - Lina Johansson, Chorus movement - Elaine Tyler-Hall, ENO Orchestra and Chorus, Mimbre Skills Ensemble.

English National Opera, Coliseum, London; Thursday 28th September 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):