Review

Henze’s Elegy for Young Lovers in Philadelphia

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I went to see Elegy for Young Lovers in Philadelphia and I wrote about it for Bachtrack:

“What a funny kind of fairy tale we’ve gotten into!” proclaims one of the characters in Elegy for Young Lovers,
Hans Werner Henze’s odd 1963 opera. The audience may sympathize. W.H.
Auden and Chester Kallman’s libretto of an uninspired poet in search of a
new muse is not standard operatic fare. Despite the familiar plot
devices of a love triangle, a madwoman, and a blizzard (well, the latter
is not so common), its elusive tone and Henze’s kaleidoscopically
shifting score are hard to pin down to any operatic school. It’s
fascinating, and this co-production between the Curtis Opera Theatre and
Opera Company of Philadelphia is well worth seeing.

Read the rest here.

I’m glad I saw this performance, but I have some qualms about these Curtis Opera Theare [sic] and Opera Company of Philadelphia co-productions. On the positive side, it allows a conservative company to put on lesser-known works. And it’s a good deal for Curtis in that they probably get more money for a more elaborate production. But I get the feeling that they’re benefiting from cheap student labor in a way that isn’t very ethical. Curtis students are excellent and will go on to distinguished careers.* But OCP has expanded this series and cut their mainstage season in recent years, meaning they’re hiring fewer professional artists and using more students. A professional company should be hiring professionals and be paying them
professional fees.

About the libretto, I mentioned the possible Britten connection (i.e. that Auden and Kallman intended Mittenhofer as a portrait of Britten) because it’s too intriguing to leave out. But I haven’t seen any convincing evidence for it so I didn’t want to give it status greater than as a highly speculative theory. I’ll dig a bit more, but ideas, anyone?

*Curtis Opera Theatre puts on its own solo productions as well (with the more reasonable $35 top ticket price versus Elegy’s $100. Those prices for a production where the singers are students, even very good students, seem problematic?

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Review

The enigmas of Khovanshchina at the Met

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Khovanshchina is an imposing confusion, a solemn tragedy with the solemnity and stature of Greek tragedy but none of the clarity. Musorgsky’s music is so damn good, and the musical values in this Met revival are so high that you’re hanging on every word, even though they haven’t done anything to sort out the drama, or even really bothered to portray it.


Musorgsky, Khovanshchina, orchestrated by Shostakovich with final scene by Igor Stravinsky. Metropolitan Opera, 3/1/2012. Production by August Everding (revival), conducted by Kirill Petrenko with Anatoli Kotscherga (Ivan Khovansky), George Gagnidze (Shaklovitïy), Olga Borodina (Marfa), Ildar Abdrazakov (Dosifey), Misha Didyk (Andrei Khovansky), Vladimir Galouzine (Golisïn), Wendy Bryn Harmer (Emma).

Khovanshchina was left unfinished upon its composer’s untimely death. The conductor’s note in my recording says this:

Khovanshchina is a massive canvas of many conflicting tragedies, fears, ambitions and hopes for Russia. The additions of Stravinsky and Shostakovich, for all their musical interest, are comments on Russian history… and they result in a political emphasis to the opera which cannot be justified by Musorgsky’s own scores and letters. The very ambiguity of Khovanshchina makes is an opera of great contemporary relevance; to polarise or clarify is, I feel, to reduce its effect, especially in the Russia of today.

The conductor who wrote this was none other than Valery Gergiev, in Gorbachev-era late Soviet Russia. (The Gergiev of today, however, would fit in perfectly among the shady schemers of the opera’s libretto.) The point that Shostakovich’s and Stravinsky’s additions to the incomplete score constitute an ideological reworking is absolutely correct. But it’s impossible to know—and to my mind difficult to believe—that a Khovanshchina finished by Musorgsky would have lacked a strong political message (though evident disagreements between Musorgsky and his librettist Vladimir Stasov may have muddled things).

As it is, Khovanshchina acquired a sort of accidental modernism, a fragmentation and polyvalent quality that is a relic not of intention but of process, of a work left in pieces and given its shape by others. The basic plot deals with the power struggles between Ivan Khovansky, head of the Streltsy militia and his semi-allies the schismatic Old Believers versus the Boyars (aristocrats) versus and the regent Sophia, and the offstage rumblings of Westernization from the teenage future Peter the Great. Khovansky might want to use his unruly militia to overthrow Sophia? Or does the scheming boyar Shaklovitïy just want to get him out of the way? Does the regent not like the diplomat Golisïn anymore? What makes it so confusing is that Stasov condenses many events into a short time period and, disallowed from showing any Romonovs onstage, much happens through proxy. Khovansky falls and the Old Believers immolate at the end, paving the way for Peter the Great, and it’s unclear if the opera thinks this is good for Russia or not.

Unless Russian history is your job or hobby, it’s probably best to forget about trying to follow the plot in close detail. In any case, the Met’s rickety and faded August Everding production doesn’t do anything to make it interesting or compelling. (Tellingly, you can barely see the set in the production photos, found at the bottom of this post.) What you have is the music, the main event in this performance. The score’s “broad canvas” of schemers express themselves with a noble lyricism that is quite different from the rough realism of Boris Godunov, and the music has an austere beauty that is uniquely beautiful, whatever its message.

The Met has assembled a largely Slavic cast for this opera, and an impressive group it is, with many more beautiful and fewer steely or worn voices than your average straight-from-the-Kirov crew. This diversity may be because Valery Gergiev was, for once, not conducting. Instead we had Kirill Petrenko, whose leadership was more refined and layered, less white-hot and loud, befitting this surprisingly elegant score. The orchestra sounded excellent—particularly when I escaped the rear orchestra overhang after the first intermission—and the chorus had its moments of greatness but some wobbly circa-2005 ones as well.

Olga Borodina was the star of the evening as Marfa, an Old Believer/maybe-witch/spurned lover who ties the plot together in various improbable ways. Her mezzo has been headed south over the past few years, adding a deep resonance to her already well-known velvety richness. (One wonders how she will manage Amneris next season.) And while her acting wasn’t much (no one’s was, really), she can tell the story with her voice.

Most of the rest of the roles belong to lower-voiced men. Anatoli Kotscherga must be getting on in years but Russian basses are a durable article and he has both cavernous sound and a good amount of charisma. George Gagnidze’s baritone was impressive in Shakovitïy’s Scene 3 lament for the pains of Russia—even if no one quite knew what he actually wanted to happen to Russia. And Ildar Abdrazakov matched Borodina for vocal warmth and depth as the Old Believer chief Dosifey. In the higher categories, Misha Didyk was ardent and promising as Andrei but this yelping sort of role doesn’t offer many opportunities to really hear the voice’s quality. Former Andrei Vladimir Galouzine sounded very baritonal as Golitsïn but still has the notes and the voice is in good shape. Supporting roles were strong, particularly John Easterlin’s well-characterized Scribe and Wendy Bryn Harmer’s bright-voiced Emma.

The Met is using Shostakovich’s completion, supposedly based on Musorgsky’s original score before the inevitable Rimsky-Korsakov got his hands on it. But Petrenko has edited it a bit in ways to dilute the Peter the Great-positive message imposed by Shostakovich and Rimsky (edits similar to those found in Claudio Abbado’s recording). At the end of Act 2, Petrenko ends with an unresolved chord, leaving out Shostakovich and Rimsky’s Peter-positive postludes (Musorgsky had imagined a big concertante but no one has composed it). More drastically, Petrenko has adopted the final scene completion by Stravinsky, a quiet and ghostly ending as the Old Believers burn up.  Shostakovich had ended with a big reprise of the Dawn prelude hailing the glorious future of Peter the Great’s reforms, while Stravinsky seems to take the dire forecasts of the Old Believers more to heart, a (1872) Boris-like conclusion.

I wish the Met’s production rose to the challenges of the opera as much as the cast did. Even if you agree with Gergiev that political neutrality is the way to go, you could do something, anything to make it visually compelling. From the flat sets to the indifferent direction (including a very boring dance from the inevitable Persian slave girls), it saps a lot of energy and grandeur from this great opera. But the music is fantastic, and considering how rarely the Met ventures into this territory at all (there is not a single Slavic opera on the schedule for all of next season), that’s still something to be thankful for.

For a compelling modern DVD of this opera, check out this Dmitri Tcherniakov production from Munich.

Khovanshchina continues through March 17.

Photos (copyright Ken Howard/Met):

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Review

Berlin Phil descends upon New York

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I only made it to one of last weekend’s Berliner Philharmoniker concerts. It was the first one, and I wrote about it for Bachtrack.

The composers Debussy, Dvořák, Schoenberg
and Elgar and aren’t often associated with each other, but they
featured together in the first of three concerts in Carnegie Hall with
Sir Simon Rattle and the Berlin Philharmonic. The works on the program,
it turned out, all dated from the 1890s and all were program music. But
Rattle and the orchestra, while technically flawless, only seemed to
connect with the material at some points.

Read the rest of the review here. I’ve usually been a big Rattle fan. I went to college in Philadelphia, where he visited the orchestra every other year and we never missed a program. But this one left me in the end less thrilled, much in the same way I found his Salome last spring in Salzburg–flawless but chilly, in a repertoire in which coldness does no favors. But the Enigma Variations, a piece I’ve never been crazy about, was pretty spectacular. I do like the Dvořák too, which is never sugary and always subtle.

Those things could not be said of Jack Sullivan’s program notes. In the note to Dvořák’s Golden Spinning Wheel, he perpetuates the dangerous cliché that the Germanic composers of this period wrote in a generic mainstream style driven by intellectual processes and education, while the “nationalist” composer such as Dvořák (or Chopin, or Glinka, or Liszt) is more “authentic,” unstudied, and instinctual. Sullivan’s Dvořák communes with the Czech spirit at a primordial level, but to get this he distorts a number of facts. While Czech folklore was very important to Dvořák, this did not preclude him being literate and cosmopolitan as well–just like most composers of any nationality.

He describes The Golden Spinning Wheel as one of four “orchestral ballades” that Dvořák “knocked off” in 1896, which he describes as based on a “folktale” and “fairy tale.” “Knocked off” is a condescending way of putting it–would we ever say that Brahms knocked off something? And the second half simply isn’t true. The Golden Spinning Wheel is based on a poem by the Czech poet Karel Jaromír Erben. Its sources are folkloric to be sure, but Dvořák was working from a literary source, not transcribing the spirit of a fairytale from his grandma.

Sullivan describes the form of the piece thusly:

Dvořák often used classical sonata form in his symphonic works, but the structure of The Golden Spinning-Wheel, based directly on the verbal rhythms of folklorist Karel Jaromir [sic] Erben’s text, is as far from Viennese classicism as possible, giving the piece a liberating unpredictability that was later celebrated and built upon by Leoš Janáček.

Oy. So here we have the first mention of Erben, whose responsibility for the source material is never further clarified. Then we have a description of something that sounds like a proto-Janáčekian speech-melody technique. I don’t know this piece enough to say if it’s present or not, but even if it is, “verbal rhythms” work on the local, phrase level, which has nothing to do with whether the piece is in sonata form or not.

But most seriously, what is this form that is “as far from Viennese classicism as possible”? It’s… a rondo. An odd rondo, with a lot of little ternary forms in the episodes, but a recognizable rondo nonetheless. Rondos are one of the foremost Viennese classical forms. Of course, many folk forms also contain similar forms with a recurring section. The stark binary between Czech and not-Czech music just doesn’t exist. Prague is not, after all, very far from Vienna.

Updated to Add: The program note for the Enigma Variations identifies Variation VI (Ysobel) as being a violin solo. It’s a viola.

(By the way, I often write program notes myself. If you need some, call me.)

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Review

Madama Butterfly shines on

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This production of Madama Butterfly was Peter Gelb’s first opening night of the Met and remains the most beautiful production of his regime as General Director. This was the third time I had seen it and while on the outside it is still gorgeous I have grown more wary of its glossy surfaces, just as I have of Gelb’s artistic mission.


Puccini, Madama Butterfly. Metropolitan Opera, 2/17/2012. Production by Anthony Minghella (revival), conducted by Placido Domingo with Patricia Racette (Cio-Cio-San), Adam Diegel (Pinkerton), Laurent Naouri (Sharpless), Maria Zifchak (Suzuki).

(Obligatory n.b.: this production, directed by the late Anthony Minghella, was first seen at the English National Opera.)

Perhaps my intellectual hackles were raised because I was never able to fully immerse myself emotionally in this performance, something I hadn’t had any trouble with on previous outings. This was primarily due to Placido Domingo’s pale and shapeless conducting, which did the score’s intensity and complexity a great disservice. Honestly, that major companies hire him to conduct is a disgrace. Under a different conductor this would have been a very different experience. But Placido gave me a V-Effekt and it didn’t stop.

This was particularly a shame because Patricia Racette’s Cio-Cio-San is really marvelous. She’s a naturally sympathetic singer, and brings a believable youthfulness to the part along with the needed vocal power. Her wide vibrato can sometimes obscure her pitch, but her sweet tone and solid chest voice matched with her unbroken sincerity and soulfulness makes her a touching Butterfly. I only wish the orchestra had matched her portrayal.

Racette with puppet son

Adam Diegel deputized for the ill Roberto De Biasio as Pinkerton, so I’ll cut him a break on his stiff acting. His voice has a pleasant bright quality and freshness, but he lacks the ringing high notes to really score in Puccini, and sometimes failed to fill the house vocally. I missed hammy Roberto Alagna, the last Pinkerton I saw in this production, who is fantastic in this role. It’s hard to believe that this evening marked Laurent Naouri’s Met debut (to anyone who watches European DVDs he is a familiar presence, particularly in Baroque repertoire), but he was an excellent Sharpless, with a deeper-than-average voice for the role and very sensitive and complex acting. Maria Zifchak was again Suzuki and was again great; other supporting roles were fine. We seemed to get the chorus’s B team, who in their first entrance sounded especially winded from their climb up Butterfly’s hill.

I’m not going to describe the staging in great detail because it is well known at this point and available on DVD. You can see a trailer at the bottom of this post. It’s elegant, with a spare set and extravagant costumes, with a plethora of sliding screens and a falling flower petals and paper lanterns. It does not challenge Puccini’s text. This is, after all, the Met, one of the few theaters in the world where a giant mirror onstage serves no purpose beyond producing a pretty reflection. Minghella and co. offer a modern continuation of Puccini’s well-intentioned Orientalist mission. They explore a strange “Other” culture–attempting research and presenting their results as something enchanting and different whose very appeal lies in its foreignness, its stylization, surface decoration and essential unknowability. Butterfly’s son is represented by a Bunraku puppet, who receives his own program note.* Is he, ripped from his native theatrical context and created by the British group Blind Summit Theatre, anything more than a modern version of the Chinese music box Puccini supposedly used as a source for Turandot? And, as a non-Japanese person myself, do I have any right to be offended on behalf of a people I likewise didn’t consult?

Attempts to challenge the exoticizing elements of Butterfly are numerous, notably by two of my favorite directors, Stefan Herheim and Peter Konwitschny (read those reviews, they’re really interesting and by a critic whose knowledge of Japanese culture vastly exceeds my own), but I think anything along these lines at the Met would probably cause a riot. Minghella treats his characters with respect, as does Puccini, and with a performer as heartfelt as Racette it would be easy to let these concerns recede. But I can’t do that in good conscience. The spectacular irony of having a white soprano as Cio-Cio-San and an Asian tenor as Pinkerton (Diegel is Korean) only underlined the fact that we can and should do better than treat another culture as a curio. Next time remember that Butterfly stages Puccini’s own Westernness, or ask a Japanese person before you do it (provided you are not already one yourself).

*“Western audiences are accustomed to seeing puppets used in the spirit of provocative comedy… or as homespun, educational entertainment for children… The puppets featured in the Met’s Madama Butterfly, on the other hand…”

Trailer (previous cast, same soprano):
 

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Review

Met’s 2012-13 season revealed?

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A Parterre commenter appears to have leaked the Metropolitan Opera’s entire 2012-13 schedule with casting details. There is much to comment upon, but in brief, assuming that the information is genuine: I’m very happy that Daniele Gatti will be conducting the new production of Parsifal (having had a good experience with him at Bayreuth), am still curious as to who will be directing Rigoletto (rumor has it that Luc Bondy’s supposed co-production from Vienna has been dumped) and am very unhappy that the Met has said nyet to any operas in Slavic languages and nein to all Strauss for the second year running. I know it’s Verdijahr but how many oom pah pahs does a girl really have to stand? (Just kidding. I love Verdi. But I might love some other opera composers just as much.)

The new production directors I do know: Bartlett Sher will be doing Elisir for opening night (I love Elisir d’amore far more than most people but would never think it opening night material, this confuses me), Robert Lepage is doing The Tempest, David Alden Ballo (!), François Girard Parsifal, and David McVicar both Maria Stuarda and Giulio Cesare (the latter is the “Bollywood” Glyndebourne production).

Update: The spy provides the production teams. The Rigoletto director is Michael Mayer, of Broadway’s Spring Awakening. Considering the success of the Met’s recent Broadway transplants, I groaned a bit at this news.

The official announcement will be on February 24, next Friday February 23, next Thursday (it seems to have been moved—good to know they aren’t trying a Friday News Dump).

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Review

The Opera Orchestra of New York’s Rienzi

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I went to see the Opera Orchestra of New York’s concert performance of Rienzi and I wrote about it for Bachtrack:

Early works by major composers can be
fascinating. We try to see in them premonitions of the greatness to
come, or hope they will cast light on a more familiar later work. The
Opera Orchestra of New York’s concert presentation of Rienzi, Richard Wagner’s third opera, was fairly useless in this regard: most of Rienzi
sounds nothing like mature Wagner. But it justifies itself on its own
merits, a grand opera of impressive effect and achievement. This scrappy
but exciting performance sometimes rose to the occasion.

You can read the full review here. I put in a fair amount of background because a) this is an unusual piece and I think it helps to know where it’s coming from and b) the program didn’t provide a single bit of notes, not even a synopsis. Other than the work itself the discovery of the afternoon was mezzo Géraldine Chauvet. She sounded a little overparted and strained at a few of the climaxes but it was a super performance. As Irene Elisabete Matos walked the line between old style divatude and a parody of old style divatude, often not quite having the voice to back up her bravado. Ian Storey had a rough time of it as Rienzi, no better than his gargled Énée of a year ago. But I’m glad I went!

I am very busy at work currently and probably won’t make it to many live performances in February, but I hope to have some other things to write about.

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Review

The Met’s Götterdämmerung: This is how the world ends

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If nothing else, I thought, Robert Lepage will know how to make things blow up real good. But the end of his Götterdämmerung last night just sort of fizzled out. Some flames and water were projected onto the now familiar planks, some wee statues crumbled. It was–complete with the misplaced hope that this had been a technical failure in lieu of a more spectacular effect, which it was not–an inglorious but apt ending to a project that always promised something more interesting than it delivered. Musically, things were much better, but the Ring reduced to literalism is a Ring enfeebled.

Wagner, Götterdämmerung. Metropolitan Opera, 1/27/2012. New production premiere directed by Robert Lepage, sets by Carl Fillion, costumes by François St-Aubin, lights by Etiene Boucher, video by Lionel Arnould. Conducted by Fabio Luisi with Deborah Voigt (Brünnhilde), Jay Hunter Morris (Siegfried), Hans-Peter König (Hagen), Iain Paterson (Gunther), Wendy Bryn Harmer (Gutrune), Waltraud Meier (Waltraute), Eric Owens (Alberich)

From a design and mechanical perspective this is the strongest installment of the cycle (disclaimer: I have not yet seen Rheingold). The machine clanked a bit but not as much as in Siegfried, and the dreaded trench in the middle of the stage has finally been banished. The projections were less distractingly mobile and fussy. Lepage even seemed to be trying to make the singers move around more, particularly in Act 2. But the two central problems of the cycle remain: he tells the story through the set rather than through the characters, and his work is illustrative rather than interpretive. It was probably too late to do anything about those.

There weren’t any dumb shows or shadow plays to illustrate backstory in this installment, but the focus didn’t always shift to the storyteller. The Norns wove some giant ropes in the shape of a tree, aided by the Machine, and when they broke the Machine wiggled but the Norns themselves didn’t react physically at all, merely screaming “Es riß!” The only person who managed to overpower this narration problem was the indomitable Waltraud Meier as Waltraute, who was transfixing from her first moment to her last. You could see that she could see what she was narrating, and what she thought of it at each second. But I think that came from the previously well-established truth that Waltraud Meier is the Best, not from Lepage.

The production’s Personenregie failings were felt most acutely in the drama-prone House of Gibich, here represented by a projected wood backdrop and a big table. I should note that I was sitting in the Family Circle so some detail may have escaped me, but this was a very placid and bland bunch. Conventionally, Hagen is the evilest of evil, described by the chorus as “grimmer Hagen,” here he was a complete blank (and Gutrune, weirdly, seemed to really like him). I always have trouble caring about the Gibichungs, here where their affairs were so boring it was nearly impossible. They are not alone: Brünnhilde is severely underdirected in her wedding scene, seeming more mildly upset than traumatically outraged. Just because the direction is less static doesn’t mean it actually conveys dramatic meaning, unfortunately.

But the production is still filled with missteps small and large. One could just make a list. The projections make the geography of the fire mountain quite confusing. Why does Brünnhilde enter the Prologue with Nothung, and alone? (That’s Brünnhilde from Walküre, not Brünnhilde in Love.) Why does the action never seem to respond to the music? Why must so many entrances be made slowly and unceremoniously from the sides–the speed I assume is due to some stairs just offstage–which just isn’t dramatic. Waltraute needs to storm on, not stroll.

But the biggest problem is the Immolation. Here’s what happens. A funeral pyre of logs is built upstage. Brünnhilde lights it up and at the very end mounts her mechanical Grane (who reportedly closely resembles the horse of War Horse) and is rolled slowly towards it. The Machine rotates so we don’t see her burn, and the wall of planks is covered with projections of flames. These slowly give way to water so Hagen and the Rhinemaidens do the Zurück vom Ring bit. Three Five very little statues of the gods, previously seen in the Hall of Gibich (these statues are mentioned in the libretto, I think) appear at the top of the Machine and crumble, an effect that would be put to shame by a provincial production of Samson et Dalila. (From the Family Circle, some stage crew people were visible at this point.) We are left with just the water for the final exchange between the Valhalla and Redemption Leitmotives. It’s a massively anticlimactic staging of the least anticlimactic ending in music. It’s impossible to live up to that music (see: Peter Konwitschny’s ending in his Stuttgart production). But how could you put in so little effort?

Of course the music tells the story, but the staging deflates it and reduces something symbolic to something childishly literal. Still, the musical performance had much to recommend it. Fabio Luisi is an excellent palate cleanser after years and years of Levine. Where the latter can be ponderous and thick, Luisi is lean and dramatically attentive. But I am beginning to think he’s more a rebound relationship than someone I want to marry, Wagner-wise. He gets truly wonderful and sometimes downright luminous playing from the orchestra, the balance is generally good, but I miss the raw excitement, intensity, and weight of other conductors. I actually wanted to hear the orchestra more, for them to be unleashed.
(I am, practically speaking, probably wishing for Christian Thielemann.)
Even the Funeral March was oddly restrained.

Deborah Voigt was in better voice than she had been for any of the previous installments, particularly in the Prologue. Her high notes can be lush, and her middle was more consistently supported this time around. Her German is incomprehensible, and she shows no attention to the text or much musical variety, but in terms of pure voice this was a great improvement. If only she had gotten some better direction in Act 2. Jay Hunter Morris is a very likeable Siegfried, and has a healthier and sweeter tone than many of his breed. His voice is rather small, and towards the end of Acts 2 and 3 showed considerable strain, but what Siegfrieds don’t? In these roles I think both Katarina Dalayman and Stephen Gould of later casts will be worth hearing.

Vocally, the star of the show was Hans-Peter König’s Hagen, whose enormous if not especially dark tone was by far the loudest thing going (rivaled only by Eric Owens’s Alberich, in a memorable duet). If only he had managed to create a character. Wendy Bryn Harmer was a good Gutrune with excellent high notes and the bright tone you usually associate with this role. Waltraud Meier was, as already mentioned, a force of nature as Waltraute, to an extent that you don’t care about her slightly drying voice. Iain Paterson was fine as Gunther, though the production doesn’t seem to know what to do with him. In the smaller roles, Heidi Melton was a marvelous Third Norn and certainly has a big career ahead of her, and Elizabeth Bishop and Maria Radner were excellent as the Second and First ones as well. The Rhinemaidens, however, sounded screechy and often failed to blend, possibly due to a strenuous staging of continuously climbing up and sliding an inclined Machine. The chorus sounded fantastic.

But for better or for worse, every opera performance is the sum of all its parts, a Gesamtkunstwerk of whatever ends up happening. And on that front Lepage badly disappoints, giving us little more than a literal, often clumsy and boring visualization of the story that speaks so simplistically that it tames the drama to literal representation. Music is evocative, and the Ring is magical because it suggests things larger and more powerful than itself, things larger and deeper than our ordinary lives. Lepage’s staging makes us ask, is this all there is?

Götterdämmerung continues in February and will be presented with full cycles in April.

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Review

City Opera: Stuff White People Like?

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The downward spiral of New York City Opera is depressing. But if their planned spring season does go forward (currently it looks like it will), it will begin with La traviata at the Brooklyn Academy of Music in February. They are promoting the production with this image.

Soprano Laquita Mitchell will be singing Violetta. There’s not a lot on YouTube of her singing opera rep, but based on this standard she’s got a voice and is a heartfelt singer:

But it’s obvious that she’s not a blond white lady. Can we talk about this for a minute? You can protest that they don’t have enough money to get a different poster model for this one opera. (The mysterious blonde pictured above is seen throughout their publicity materials.) Or perhaps they assembled the publicity images before their casting was complete. Since the company has become a shoestring operation this is even likely. But the result still makes me really uncomfortable.

Black Violettas are rare. I suspect this is because of the limited roles which society has allotted to women of color. Melissa Harris-Perry talked about this racism just last week on the Colbert Report. (She was promoting her book on this very topic.) Violetta’s angelic femininity does not figure in the stereotypes Harris-Perry describes. But black ladies should be just as able to be beautiful and virtuous dying courtesans in operas as white ladies! It’s great that Laquita Mitchell is defying tradition and will be singing Violetta at City Opera, and they should recognize this and put a woman of color on their poster, even if it’s not Mitchell herself.

Also, African-Americans are woefully underrepresented in classical music both onstage and in audiences. Writing the black lady out of the publicity materials isn’t a way to convince the African-Americans who think opera isn’t for them to change their minds. Look at how much Broadway has diversified in the last few years as producers have discovered how to reach more African-Americans. Maybe it’s time for classical music to figure out how to do the same.

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Review

La fille du régiment marches again

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Laurent Pelly’s whimsical production of Donizetti’s fluffy La fille du régiment is impossible to dislike. I unexpectedly went to the last performance of its current Met run last night and was again charmed. The plot of an army mascot in love and her many protective parents (both the entire regiment and her newly-rediscovered blood relations) is sweet, the music is bouncy and tuneful, and the characters are so good-hearted and adorable that they remain likeable through the heavy layer of schtick conferred by Pelly’s production. When I saw the premiere cast in 2008, I found the show a little on the slick side (here is my review from back when I was a baby blogger), but this time I think it’s a winner through and through. The choreography keeps things cute and fast-paced, and the gags work, but Pelly never forgets to use them to define the characters first–when the haughty Marquise de Berkenfield thinks the praying peasants are saluting her, or when Marie bounces onstage wearing suspenders. The set of maps is vaguely representational and fills the stage, everyone dances periodically, and the soldiers are the most harmless lot you’ve ever seen. Lord knows what war figures in this slightly updated production, but does anyone really care?

Unlike the premiere’s Natalie Dessay and Juan Diego Flórez, the current cast doesn’t have the slightly empty look of people who have rehearsed very, very well, and they are a little more sincere. That’s a gain, but unfortunately the same star power just isn’t there. Nino Machaidze sang serviceably, but her laser-bright tone was unvaryingly loud and she lacks the agility to make the coloratura sparkle rather than just come out. Her Marie doesn’t have the quicksilver gamine quality of Dessay, but her more forceful, brassy acting worked well too. If only her spoken dialogue had resembled French.* Lawrence Brownlee made a suitably adorable and boyish Tonio and his warm and round sound has more appeal than Juan Diego Flórez’s, though he lacks some of the latter’s charisma–his final entrance on a tank in particular just didn’t have that incredible sense of ridiculous triumph. I’ve never really understood the appeal of the famous string of high C’s in “Pour mon âme” (when it comes to extreme tenoring, give me a good “Vittoria!” any day**), but Brownlee dispatched them with élan. Elsewhere, Ann Murray was hilarious as the Marquise of Berkenfeld, though her voice is showing its age and is very uneven. Maurizio Muraro was an amiable Suplice. Kiri Te Kanawa displayed her underrated comic skills as the Duchess of Krakentorp and still sounded like herself in an aria from “Le villi”. I missed Marian Seldes’s “he’s on the bobsled team!” line, though.

The orchestra and Yves Abel got off to a rough start in the overture, with a lone violinist coming in smack in the middle of a dramatic pause and some other coordination issues, but the rest proceeded smoothly enough.

Between this and today’s webcast of L’elisir d’amore from Munich (in David Bösch’s surprisingly poignant production), it’s the Weekend of Adorable Donizetti, apparently.

*However I do recommend her Lobiani recipe in Die Oper kocht. It is excellent.
**After writing this I went back and looked at my review of the premiere cast and I said just about the exact same thing. At least I’m consistent!


Donizetti, La fille du régiment. Metropolitan Opera, 1/6/2012. Production by Laurent Pelly (revival), conducted by Yves Abel with Nino Machaidze (Marie), Lawrence Brownlee (Tonio), Ann Murray (Marquise of Berkenfield), Maurizio Muraro (Sulpice), Kiri Te Kanawa (Duchess of Krakentorp)

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Review

The Best of 2011

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I saw a lot of exciting stuff this year! Later I might ruminate about why most of it was during the seven months of the year I spent in Europe rather than during the five I spent in New York, but first here are some highlights.

I made lists of five this year, because ten seemed excessive when you have multiple categories. Except for the first opera list they are not in any particular order.

Opera

  • Parsifal (Bayreuth): This took “the right opera in the right place” to a whole new level. The ritualistic experience of Parsifal in the theater for which it was written becomes a self-reflexive story of its own history from seclusion to militancy to a guarded redemption. For better or worse, we control this postmodern Gesamtkunstwerk now. Truly worth the pilgrimage.
  • Fidelio (Bayerische Staatsoper): This phantasmagorical production by Calixto Bieito dispensed with most literal narrative, but its stark images of torture and struggle were somehow incredibly Beethovenian, and stuck with me for longer than almost anything else this year. Like Parsifal, it was something of a slow burn and I don’t think I had finished processing when I wrote about it. Those productions are the best. (The production dated from late 2010 but I saw it in 2011.)
  • Der Rosenkavalier (Bayerische Staatsoper): Otto Schenk’s production owes less to Strauss than it does to Masterpiece Theater, but with the magnificent Anja Harteros and Sophie Koch in the leading roles it had life in it yet (mostly musical). Lucy Crowe was great too, Piotr Beczala was the Italian Tenor you always want, and conductor Constantin Trinks made a promising Bay Staats debut.
  • Rusalka (Semperoper Dresden): A middle-aged man in crisis finds his fantasies have little relation to reality. It might not have much to do with The Little Mermaid, but this psychothriller was true to Dvorák’s beautiful, sentimental music at every moment. (My top opera of last year was also a revisionist Rusalka—Martin Kusej’s in Munich–which, in a very different way, also suggested the forest nymph is a projection of male desire.)
  • Atys (Les Arts Florissants): This arrived at the Brooklyn Academy of Music preordained as the Event of the Year, but nearly lived up to expectations, largely through the force of William Christie’s wonderful orchestra and the elegant, self-consciously formal production. Next year a different French Baroque opera, please?

Concerts

Singers

Conductors (Opera)

More Great Achievements in Operatic Direction (Met, Are You Listening?)

Special Awards:
Halls of Fame: I’m always grateful for the chance to see anything at the Bayerische Staatsoper and the Theater an der Wien, who make everything new.

Halls of Shame: The Wiener Staatsoper for their wretched, slapdash revivals and both the Metropolitan Opera and the Wiener Staatsoper for their visionless, confused new productions.

“Oper für alle” Award: The Komische Oper Berlin, for combining accessible and affordable tickets with an adventurous and ambitious program (and during the summer festival a really interesting program of lectures and, uh, free wine). All operas are performed in German, but now they have titles in multiple languages.

Least Predictable: You never know what you’re going to get with conductor Daniele Gatti. I loved his Parsifal, was oddly persuaded by his Fidelio, and his Mahler 9 with the Wiener Philharmoniker was the single worst concert I heard all year.

Most Predictable: You do know what you’re going to get with the Met’s new chief conductor, Fabio Luisi. His work is brisk, well-paced, perfectly balanced, and phrased with elegance. Grandeur and dramatic weight, though, can be scarce.

Up and Coming: They’re at various stages of their careers, but I hope to hear lots more from conductors Cornelius Meister and Tomas Netophil, sopranos Gal James, Meagan Miller and Caitlin Lynch, mezzos Anita Rachvelishvili and Elisabeth Kulman, tenor Michael Fabiano, baritone Iain Paterson, and bass Dmitry Ivanshchenko.

Let’s hope for an exciting 2012!

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