Friday 24 October 2008

Bear At The Opera: Partenope


From l to r: Iestyn Davies, Patricia Bardon, Rosemary Joshua, Christine Rice, John Mark Ainsley, James Gower

I was strangely won over by Christopher Alden's production of Partenope by Handel. His concept of updating the action to the 1920s Parisian art world did seem to work even with the talk of war.... it was an intelligent, and sophisticated re-working of the opera. Even the fact that it was in English (a radical translation by Amanda Holden) did not detract from this charming comic opera - I might just change my opinion of operas in translation on the basis of this production.

The story of political upheaval in ancient Naples with a Queen who rules by toying with her subjects and risking the invasion of her city lends itself to salon world of Paris with it's Man Ray and Nancy Cunard figures and it's surreal and mercurial elements. The action can be easily transposed to this heady world with only a slight eschewing of the story.

Throughout the opera one is constantly reminded of photographs by Man Ray or Lee Miller, the surrealists like Andre Breton and Dali and that heady salon world. Indeed each scene was like a tableau of that world; at the start of the opera Emilio enters and takes a photograph of the audience - obviously our Man Ray character or a scene where our protagonists are playing cards with gas masks á la Lee Miller. I loved these little knowing touches, these nods to the surrealist life.

The story reads like some complex relationship puzzle. Partenope presides over her court/salon. She loves Arsace. Armindo loves Partenope in secret. Arsace's former love, Rosmira , arrives disguised as a man, Eurimene. Arsace recognises Rosmira but agrees to keep secret her identity. Armindo confides in Eurimene about his love for Partenope and Eurimene hatches a plan to make Arsace suffer, driven by her love, hate and rage at her abandonment. Emilio's marriage proposal to Partenope is rejected and he threatens war. Emilio's forces attack and he himself is captured by Arsace though Eurimene takes the credit. When Emilio refutes this claim Eurimene challenges Arsace to a dual. Armindo declares his love to Partenope but she still loves Arsace. Eurimene is forced to let 'his' true identity known when Arsace challenges Eurimene to dual bare-chested (made all the more interesting in the fact that is Christine Rice who plays Arsace that makes this challange). Arsace and Rosmira reunite and Partenope takes Armindo. Phew!

Rosemary Joshua's Partenope struck a Nancy Cunard note.... bangles and all.. wonderfully played. Perhaps a little weak at the start but by the second act her quality soprano rang true.



Rosemary Joshua, Christine Rice, John Mark Ainsley, James Gower

Patricia Bardon's Rosmira/Eurimene was wilfully playful, confused and enraged... she is determined to make Arsace suffer and keep him guessing... alternating between her love and rage. Outstanding performance and a joy to watch.



Patricia Bardon

Hats off for another great performance by the counter-tenor Iestyn Davies; the character of Armindo is so tense and unsure of himself - a real neurotic. Davies played it to great comic effect and I loved the aria where he talks about his love for Partenope - 'I'm her spaniel and her slave' (just shows that the translation can work remarkable well). Perhaps not such a strong vocal performance as his Otho in L'incoronazione Di Poppea but entertaining nonetheless.


Iestyn Davies

John Mark Ainsley's Emilio truly was the cornerstone for the production. I got the impression that the director tried to have JMA on stage as much as possible cutting a very believable Man Ray character. Each time this tenor sung I longed for more... pity Emilio did not have more arias to sing. I was deeply impressed and long to see JMA in other productions....


John Mark Ainsley

But truly the night belonged to Christine Rice playing Arsace. Each aria was keenly sung with her strong and sweet mezzo voice. True, she was gifted with some great arias that perhaps some of the other parts lacked but with each aria I was just bowled away by her beautiful quality of tone.


Christine Rice


Partenope - 18th October


Emilio John Mark Ainsley
Partenope Rosemary Joshua
Arsace Christine Rice
Armindo Iestyn Davies
Rosmira/Eurimene Patricia Bardon
Ormonte James Gower

Conductor Christian Curnyn
Director Christopher Alden

Bear At The Movies: Salome

Well, I couldn't very well miss the first live MET opera performance in the season straight to our cinema screens.... Richard Strauss' Salome, a revival of the 2004 MET production.

The MET have truly revolutionized the watching of opera. You feel very much as if this was some sporting event.... limbering up before going on stage... wishing everyone good luck... it did lead to some anticipation. What wasn't so successful was the wince provoking skit when Deborah Viogt accosts Karita Mattila as she exits her dressing room which ends with Mattila saying 'Let's go and kick ass'... great Mattila! And really the rest of the filming of the opera was no better....the filming was just too intimate. I just don't want to see saliva in the midst of an important scene. Furthermore, the camera crew had got a little too excited in anticipation about the 'Dance of the Seven Veils' I feel and we were left with some unfocused shots.

I have to freely admit that Strauss is not one of my opera favourites and Salome is certainly difficult to like. It is an ugly story with ugly characters. Where the lead character performs a striptease for her step-father and rolls around on stage with a severed head you know that this is not a happy story. But of course it is intensely dramatic, the orchestration drips with lushness and the libretto can be achingly beautiful.

Mattila's performance was insanely intense and if the camera had not been shoved in her face all the time I might have been able to believe Mattila's portrayal of a young Salome; teasing and coquettish. Mattila's 'Dance of the Seven Veils' was fine.... an interesting take on this famous of stripteases; Marlene Dietrich like Mattila teased off her suit until the final unveiling where we see Herod's reaction rather than breasts. I preferred it that way... at least for film. Thankfully there was no embarrassing flitting about in floaty things. The final 'severed head' scene was truly disturbing and beautifully sung; I could not reconcile the sight of the severed head and the words from the libretto.
"If you had seen me you would have loved me. I am thirsty for you beauty. I am hungry for your body. Not wine nor apples can appease my desire."
Beautiful and disturbing or silly and salacious. I still cannot decide.

Salome - October 11th 2008

Salome Karita Mattila
Herodias Ildiko Komlosi
Herod Kim Begley
Narroboth Joseph Kaiser
Jochanaan Juha Uusitalo

Conductor Patrick Summers
Production Jurgen Flimm

Saturday 18 October 2008

Bear At The Concert: Sally Matthews and the LSO


Boulez, Messiaen and Bruckner at the Barbican- 8th October 2008

Boulez - Livres pour cordes (1948-49 arr 1968, rev 1989)
Messiaen - Poemes pour Mi (1936)

Bruckner - Symphony No 4 in E flat major (1874)


Obviously the 20th century works of Boulez and Messiaen did not appeal to the audience at the Barbican. The hall had many empty seats and some did not come back for the Bruckner after the interval (or maybe they were just 20th century music lovers - one could only hope)...

The evening started with the edgy Livre pour cordes by Pierre Boulez.... the piece reminded me of an interview with Alex Ross (the writer of The Rest is Noise) who describes much 20th century music as being known as 'horror movie' music.... and this piece would certainly fit into that niche.... perhaps because of its mercurial changes in textures and patterns; it certainly unnerves you but also enlivens. Exciting.

Now to the highlight of the evening and why I was here; to hear the wonderful soprano Sally Matthews (recently seen in Cavalli's La Calisto). And what a joy to hear this musical love letter that Messiaen wrote for his wife (the 'Mi' in 'Poemes pour Mi'). Daniel Harding, the conductor, describes this song cycle as Catholic jazz and certainly you can hear the spirituality intensely in this music. It is reverential, voluptuous, sensual and ecstatically beautiful. It reminded me of a Chagall painting... the one where he is flying over the city with his wife in a tender embrace.

This is a small extract from 'Poemes pour Mi' at it's most sensuous... 'The Necklace'.



Even though Sally Matthews was sometimes lost in the lush orchestration (though only rarely) this was an impassioned rendering of the text... with every word the meaning was torn out... no more like teased out. This was the most wonderful testament to marriage I have ever heard.

The night ended with Anton Bruckner's Symphony No 4 in E Flat Major which Bruckner himself named the 'Romantic' symphony. It brings to mind fairytale landscapes of crystalline mountains, dark forests and swift running rivers; indeed they were intensely romantic soundscapes. Perhaps a little too romantic for me. I prefer the edgier, personal work of the 20th century composers.


Catch this whilst you can on Performance on 3 on Radio 3 - http://www.bbc.co.uk/programmes/b00f124v but not for very much longer.

Bear At The Concert: Opening of Kings Place


Kings Place

It is not everyday of the week that a completely new music venue opens in London. Kings Place is the new home to the LSO and the Orchestra of the Age of Enlightenment. This venue is designed to run with no public money involved... a bold step especially in these times of a credit crises. It will be great if this new venue does find commercial success. Certainly on the Saturday night
(4th October 2008) that I ventured up York Way, north east of Kings Cross the place appeared to be brimming with expectant customers; no doubt there to hear the eclectic night of concerts.


Kings Place Entrance/Meeting Area

The auditorium of Kings Place is certainly impressive; the veneer for the wood panelling inside the hall is made from just one tree, La Contessa, an oak tree from a German woodland and put to good use. And it sounds good as well - I happened to hear some musicians from the Orchestra of the Age of Enlightenment playing a mixed baroque set; some Bach, Handel and Rameau including an arrangement from 'Les Indes Galante'.


Kings Place Auditorium


It's position up York Way might put some people off... it is a bit of a hike up from Kings Cross especially on a wet night. The actual auditorium and venue is buried amongst the office complex which in itself is not inspiring but a real effort has been made with the performance halls; a joyful sound. I look forward to catching some of the more contemporary works there in the future....

Bear At The Opera: La Calisto



Curtain Call - (l to r) - Giove (Umberto Chiummo), Calisto (Sally Matthews), Diana (Monica Bacelli), Giunone (Veronique Gens), Linfea (Guy de Mey)

This is a first outing for Francesco Cavalli at Covent Garden, and what an evening. This production first aired in Munich a year or so ago and hopefully will see a resurgence of interest in Cavalli. David Alden's direction certainly emboldens the spirit and brings out the more bawdy aspects - a very different interpretation than Raymond Leppard's back in 1971.

I heard this synopsis by Sally Matthews who plays Calisto on Tom Service's programme for Radio 3 - Music Matters - it was so succinct I just had to transcribe it.

I am a very chaste nymph. I'm one of Diana's followers and I am desperately in love with her. Giove comes down and takes advantage of me; dressed up as Diana, seduces me, gets me pregnant. I spend the rest of the opera pining for Diana because she spurns me because of course she never slept with me in the first place; it was Giove in disguise. The Giunone, Giove's wife, spurns me; turns me into a bear.

This has been promoted as a sexual comedy, not for sensationalism but because that is what it is - what with Gods and Goddesses messing with the lives of mortals - seducing, deceiving, and manipulating. It has all the hallmarks of a Shakespearean comedy - think 'A Midsummer's Night Dream' set to music and you would not be far off the mark. This was an immensely enjoyable, ribald and racy affair.

As befits a tale of Gods and mortals the set and costumes were particularly adventurous; fabulous beasts and outrageous decoration. The main set was a lurid striped affair which put me in mind of some 1930s Hollywood movie (you know the one - all singing and dancing, no plot and flocks of dancing, plumed women). There was even an Art Deco lift that brought the Gods down from the heavens. Unlike some other reviewers I loved the decadence of the set - after all this is theatre.

Now to the performances. Sally Matthews' Calisto was amazingly tragic as the seduced, and spurned nymph. Her real-life pregnancy did not effect her performance in any way (frankly I did not notice) and if anything it was more poignant. Umberto Chiummo's Giove was wonderfully treacherous - especially the seduction scene where he disguises himself as Diana (Chiummo mimes the vocal lines whilst the warm-toned Monica Bacelli sings the role in the orchestra pit). His disguise is later discovered and Giove is forced to sing a falsetto to great comic effect - a marvellous touch by the director David Alden.


Sally Matthews



Umberto Chiummo, Sally Matthews, Monica Bacelli

The highlight vocally was Lawrence Zazzo's Endiomone - another mortal whose live is torn apart by a Godess - this time by Monica Bacelli's richly voiced Diane. Tragic and beautiful. A great pairing.


Lawrence Zazzo

Dominique Vissi's raunchy goat Satirno and Guy de Mey's nymphomaniac follower of Diana, Linfea brought the majority of the comedic moments and the most lewd and ribald..... great entertainment.



Dominique Visse


This was a wonderfully spectacular night. Alden's direction was inventive and spirited and I certainly enjoyed every single minute. Chatting to a few people in the interval, everyone seemed to be enjoying the production.... sadly, the ROH was not sold out (even for a first night). More fool those who missed an amazing theatre experience. I hope that this does not stop Covent Garden from showing other operas by Cavalli; according to Ivor Bolton, the conductor, and David Alden there are about 10 other Cavalli operas worthy of attention. Maybe I am in the minority but I would love some more!

Hear this production of La Calisto on BBC Radio 3 on Saturday 25th October.


Umberto Chiummo



Conductor (Ivor Bolton)

La Calisto - Royal Opera House, London - 23rd September 2008

Calisto Sally Matthews
Satinino Dominique Visse
Eternity/ Giunone Veronique Gens
Destiny / Diana Monica Bacelli
Giove Umberto Chiummo
Linfea Guy de Mey
Endimione Lawrence Zazzo

Director David Alden
Conductor Ivor Bolton

Monday 6 October 2008

Bear At The Opera: Joyce DiDonato In Conversation

I was lucky enough to attend one of the special events that Covent Garden have put on to compliment their season of opera. Having just seen Joyce DiDonato as Donna Elvira in Don Giovanni (see previous post) I was looking forward to hearing what this great mezzo-soprano had to say about her role and her career. For the last four months or so I have been following her career via her upbeat blog (http://yankeediva.blogspot.com); hearing about the challenging roles like Romeo in Bellini's Il Capuleti and her preparation for Don Giovanni......

Joyce DiDonato talked about singing techniques, American optimism and Frederica Von Stade amongst other things. I was struck by her humility in the light of such great success; she seems still like 'the girl next door'.... She touched on the role of Donna Elvira and her preparation. The role is normally sung by a soprano but Ms. DiDonato having scrutinized the score found that her voice could handle the range; especially when she found a transposed version of the last aria that Mozart himself had written. The transposition was only by half a step but this made all the difference and allowed her to sing the role comfortably. Indeed she noted that in the trios with Donna Anna and Zerlina or Donna Anna and Don Octavio a third voice of a different quality appeared to add extra colour. She had nothing but praise for the Maestro Sir Charles Mackerras who she thought was 'sunshine'; giving her the structure that she needed to prepare with limited rehearsal time and the flexibility to allow for some changes.

Asked about whether she thought there was a particular mid-western American style of singing (that is where she was brought up) she quickly diverted to expressing that there was an American optimism which often or not is coupled with an arrogance... her train of thought was sliding to the political which she tried to steer away from but not before vaguely bemoaning the intolerance of the Bible belt... I almost wish she had started to talk politics; she obviously had some strong views.

Joyce DiDonato just oozes humility and has none of the American arrogance she mentioned; she dislikes to hear her performances and visiably whinces through the extracts played from her numerous recordings. No wonder her favourite artist is Frederica Von Stade citing her generosity in performing; how Von Stade's work was all 'about giving'. Seeing her in Don Giovanni and during this talk you can tell that DiDonato shares this generosity of spirit.

This humility is highlighted when she talks about here training at Houston's young artist programme; she was brought down a peg or two by her singing teacher Steve Smith who said that if she kept singing like that she would have a very short career; she was was singing 'on youth and muscle'. She described how she spent a year or so 'learning how to sing'.

She still keeps her ties to Houston Grand Opera and will be back there later this month for a role debut in Béatrice and Bénédict. She has kept her ties with her singing teacher Steve Smith - expounding the virtues of technology by solving a tired voice over Skype with him (she is after all the blogger Yankee Diva).

On asked about her eclectic tastes of repertoire - take her Spanish repertoire or some of the obscure elements of her most recent Wigmore Hall appearance she acknowledges her curiosity. The Pasion recording with the pianist Julius Drake came about purely by chance whilst visiting Drake and perusing his record collection; they arranged the recording there and then.

The evening was finished off by a look at her performance in Handel's Hercules - 'Where shall I fly' - a little taster of her upcoming recording Furore, a collection of furious pieces indeed. Out in November in Europe and a definite buy I think.




Joyce DiDonato new recording - Furore - posted by emiclassics

Joyce DiDonato will be back in London come the spring as Rosina in the Barber of Seville with not so much angst and a whole lot of fun.

Friday 3 October 2008

Bear At Home: El Niño


Screen capture from the El Niño DVD

One of the first of many reviews of DVDs and recordings of operas.... to enjoy in the comfort of your own cave.

John Adams El Niño is more of a 'scenic oratorio' than an opera (as described by the director and co-librettist Peter Sellers).... telling the story of the nativity it is a collection of texts from the King James Bible, Gnostic gospels, Sor Juana Ines de la Cruz and poetry by 20th century Hispanic writers. That is the beauty of it.... it is that selection of texts set to exquisite music by John Adams that makes this a marvellous work.

And if that was not enough you have the trioof fabulous voices with the talents of Dawn Upshaw, Lorraine Hunt Lieberson and Willard White. It is the juxtaposition of vocal talent, dance and film that make this 'scenic oratorio' a joy to watch. It is a sweet amalgamation.

Opening with the London Voice Choir with 'Mai, mai, maiden' the terseness of the libretto is a welcome relief from turgid, and often times unnecessary words. Having the three counter-tenors act as the messengers from God and the narrators is inspired. That counter-tenor vocal range lends itself well to spiritual music.

The dancers all lend dynamism to the piece both on stage with the singers and also on film. One particular point where the dancer Michael Schumacher as the angel Gabriel delivers his message to Mary is utterly transcendent. It is a perfect marriage of dance and vocal talent.

And if that were not enough we are treated to the most powerful piece of music - Lorraine Hunt Lieberson singing 'Pues Mi Dios Ha Nacido a Penar'.... but then all of LHL pieces are exquisite.



Dawn Upshaw and Lorraine Hunt Lieberson in El Niño - posted by hillevifan


Composer John Adams
Librettist John Adams/Peter Sellers


Cast

Dawn Upshaw Soprano
Lorraine Hunt
Lieberson Mezzo-soprano
Willard White Bass
Daniel
Bubeck Counter-tenor
Brian Cummings Counter-tenor
Steven Richards Counter-tenor
The London Voices Choir

Daniela
Graca Dancer
Nora Kimball Dancer
Michael
Schumacher Dancer

Thursday 2 October 2008

Bear At The Opera: Don Giovanni


Simon Keenlyside cut-off, Kyle Ketelsen and Joyce DiDonato

This is bears first Don Giovanni but definitely not for the Royal Opera House; this is the revival of the Francesca Zambello production from 2002 (definitely the same set). I had seen some reviews that suggest that this is a tired production with the old set and such but having not seen these I can come at it completely fresh. The set did seem to work - this semi-circle of wall that turned to display different scenes acted as a climbing frame for the athletic Simon Keenlyside, aterrace for Donna Elvira to opine on and a suitable spot for onstage musicians; it certainly led to a dynamic production.

I attended the fourth performance and found that the production had bedded down a little after all the furore of the first night. I was unlucky not to hear Ramon Vargas (due to illness) but Robert Murray from the second cast stepped in to play a very passable Don Ottavio; he sang very sweetly if a little strained at the top. According to my chatty neighbour, who had seen the second performance in the run, Robert Murray could act well and indeed preferred Murray over Vargas.... gracious terms indeed.


Robert Murray as Don Ottavio


Marina Poplavskaya as Donna Anna


Marina Poplavskaya was a suitably wronged Donna Anna but none of her arias stood out to me unfortunately (I just found her Desdemona from Otello on You tube which seemed infinitely better). The young Robert Gleadow proved to be an impressive Masetto; certainly worthwhile to keep an eye on his future performances. Apparently, again according to my chatty neighbour Miah Persson played Zerlina completely differently to her second performance and much improved; as if there was some complete re-think in how to play her. What I saw was a performance with verve and guts. I was impressed especially in the scenes with her bridegroom Masetto - I certainly raised my eyebrows with the forceful renditions of 'Batti, batti, o bel Masetto' (Hit me, hit me, my dear Masetto) ; I even went home to find the libretto to confirm the words..... this is strong stuff and I would have thought that a docile playing of the role would make this scene particularly hard to stomach. I was certainly glad that Persson changed her performance to sound provocative, gutsy and ultimately flirtatious.

Simon Keenlyside's Don Giovanni was impressively physical and gave a solid performance. This role must be like an old pair of shoes for him; he can slip them on and easily wow the ladies! Well that is if it wasn't for that wretched wig - some Michael Bolton hairdo or something out of that dire time of American soft rock- whoever created that wig should have been taken out and publicly shot (you can tell I did not like it). And poor old Kyle Ketelsen playing Laporello had to play his very amusing role in a Baldrick look-a-like wig.... Apart from having to grimace every time I clapped eyes on this duo the wigs could not detract from the enjoyment of watching them milking the more comedic moments. Great fun!


Joyce DiDonato as Donna Elvira

Praise has to given to Joyce DiDonato's Donna Elvira who convincingly slowly unravels; at one point vengeful and protective, later conflicted and confused. Her last aria 'Mi tradi quell'almaingrata' (that ungrateful soul betrayed me) shows just how torn between his betrayal and her love for him she is. This for me stood out as the highlight aria... the truly heart-wrenching moment.

All in all an enjoyable night. Well, who couldn't enjoy a night where a huge fiery hand comes swinging from the the rafters to finally polish off Don Giovanni ... (well I laughed really). A great, if somewhat preposterous ending to the production.


Don Giovanni - Royal Opera House, Monday 15th September

Synopsis

Cast

Leporello Kyle Ketelsen
Donna Anna Marina Poplavskaya
Don Giovanni Simon Keenlyside
Commendatore Eric Halfvarson
Don Ottavio Robert Murray
Donna Elvira Joyce DiDonato
Zerlina Miah Persson
Masetto Robert Gleadow

Director Francesca Zambello
Conductor Charles Mackerras

Notes on standing, restricted view at the Royal Opera House

As an aside, Bear saw this production from the cheap-skate, standing places in the balcony. Sometimes if the seats are not all occupied you can sneak out and get better seats after the lights go out. Unfortunately this was a sell-out performance (even on a Monday night). The view was very restricted; hence the poor photos I managed to take at curtain call. And curses on those light sconces which blocked my meagre view. I might try my luck in the left balcony next time.