REVIEWS
Frankfurt/München
“Ring”-Produktionen Opera Review: German Operas Bank on Visual Effects
http://www.nytimes.com/2012/02/22/arts/22iht-loomis22.html
London
Ian Bostridge/ Angelika Kirchschlager mit Raritäten
The Bostridge Project, Wigmore Hall, London
http://www.ft.com/cms/s/0/136847a6-5c70-11e1-911f-00144feabdc0.html#axzz1n6q0hEGZ
Ian Bostridge/Angelika Kirchschlager – review
“Figures from the Antique was the title of the latest instalment of the Wigmore’s Bostridge Project”
http://www.guardian.co.uk/music/2012/feb/21/ian-bostridge-angelika-kirchschlager
London
Mozart: Le nozze di Figaro
The Royal Opera
http://www.musicalcriticism.com/opera/roh-figaro-0212.shtml
Opera review: The Marriage of Figaro, Royal Opera House
http://www.express.co.uk/posts/view/303384/Opera-Review-The-Marriage-of-Figaro-Royal-Opera-House
Cardiff
Beatrice and Benedict, WNO, Wales Millennium Centre, review
http://www.telegraph.co.uk/culture/music/opera/9095462/Beatrice-and-Benedict-WNO-Wales-Millennium-Centre-review.html
Beatrice and Benedict – review
Millennium Centre, Cardiff
http://www.guardian.co.uk/music/2012/feb/20/beatrice-and-benedict-review-wno?newsfeed=true
New York
Erste Oper von Rufus Wainwright hatte in New York Premiere:
A Diva Haunted by Fame and Failure
“Prima Donna,’ by Rufus Wainwright, Makes American Debut
http://www.nytimes.com/2012/02/21/arts/music/prima-donna-by-rufus-wainwright-makes-american-debut.html
Rufus Wainwright’s ‘Prima Donna’: Major drama, done up in a sequined ball gown
http://musicmix.ew.com/2012/02/20/rufus-wainwright-opera-prima-donna/
Anchorage
Macbeth’ at Anchorage Opera was a gripping success
http://www.thenewstribune.com/2012/02/19/2033729/macbeth-at-anchorage-opera-was.html
Dallas/
Dallas Opera returns to ‘Tristan’
http://www.star-telegram.com/2012/02/17/3743723/dallas-opera-returns-to-tristan.html#tvg
London
English National Opera faces protest over ‘pro-terrorist’ hijacking opera
It is one of the most controversial musical works ever written, described by critics as “anti-Semitic” and
“romanticising terrorism”.
Read more
Perth
Review: The Pearlfishers
http://au.news.yahoo.com/thewest/entertainment/a/-/entertainment/12951703/review-the-pearlfishers/
Cardiff
Beatrice and Benedict, Welsh National Opera
Berlioz’s last opera glows but stutters in an uneven Cardiff revival
http://www.theartsdesk.com/opera/beatrice-and-benedict-welsh-national-opera
London
Don Giovanni: The Royal Opera, 16th February 2012
The main reason for seeing this revival is undoubtedly the suave, sexy Don Giovanni of Erwin Schrott,
Read more
The Costume Collection des ROH online
http://www.rohcollections.org.uk/CollectionCostumes.aspx
Dallas
Opera Review: The Dallas Opera Brings Wagner’s Tristan and Isolde Into The 21st Century
Read more
Love Through Time and Space
The Dallas Opera’s production of Wagner’s Tristan and Isolde boldly goes where none has gone before.
http://www.theaterjones.com/reviews/20120216173339/2012-02-17/Dallas-Opera/Tristan-and-Isolde?sf3222361=1
Colorado
Spectacular ‘Figaro’ opens Opera Colorado season
http://www.dailycamera.com/music/ci_19984150
Karlsruhe
Review “Romeo und Julia auf dem Dorfe”. A Birthday Celebration in Germany
http://www.nytimes.com/2012/02/15/arts/15iht-loomis15.html
Tel Aviv
Opera Review: Jenufa
http://www.jpost.com/ArtsAndCulture/Entertainment/Article.aspx?id=257832
New York
“Hansel and Gretel’ Vanquish the Mean Witch
http://www.theepochtimes.com/n2/arts-entertainment/hansel-and-gretel-vanquish-the-mean-witch-191144.html
New Orleans
Placido Domingo returns to open the New Orleans Opera Association 2012-13 season http://www.nola.com/arts/index.ssf/2012/02/placido_domingo_returns_to_ope.html
Blu-ray-Review
IGOR STRAVINSKY: The Rake’s Progress (complete opera), Blu-ray (2011)
http://audaud.com/2012/02/igor-stravinsky-the-rakes-progress-complete-opera-blu-ray-2011/
London
Le nozze di Figaro, Royal Opera, Covent Garden, review
Mehr Info
Le nozze di Figaro
http://www.musicomh.com/opera/roh-figaro_0212.htm
Strong David McVicar revival of Mozart’s charmer is full of detail and darkness
Le Nozze di Figaro, Royal Opera House
http://www.theartsdesk.com/opera/le-nozze-di-figaro-royal-opera-house-0
Cardiff
La Traviata – review, Millennium Centre, Cardiff
http://www.guardian.co.uk/music/2012/feb/13/la-traviata-review-wno?newsfeed=true
New York
Dancing to Deathbed, Traditionally City Opera Returns With Jonathan Miller’s “Traviata’
La Traviata an der New York City Opera
http://www.nytimes.com/2012/02/14/arts/music/city-opera-returns-with-jonathan-millers-traviata.html
New York City Opera ‘La Traviata’ eerily invokes Whitney Houston
Mehr Info
Laquita Mitchell’s extraordinary Violetta gets New York City Opera back on track
Mehr Info
San Diego
Getting ‘Moby-Dick’ opera up and sailing
Tenor Ben Heppner and composer Jake Heggie discuss the challenges of bringing Herman Melville’s American classic
to San Diego’s Civic Theatre.
http://www.latimes.com/entertainment/news/la-et-moby-dick-20120214,0,7743681.story
Washington
Virginia Opera presents Philip Glass’s “Orphee’ at George Mason University
Mehr Info
Denver
Opera Colorado’s “Marriage of Figaro” will make you think about love… and then again
http://www.denverpost.com/entertainment/ci_19949360
Sidney
Review: Opera Australia’s Turandot, Sydney Opera House
http://northside.whereilive.com.au/lifestyle/story/review-opera-australias-turandot-sydney-opera-house/
London
Weitere Reviews zum Hoffmann an der ENO
The Tales of Hoffmann, English National Opera
Mehr Info
Tales of Hoffman, ENO, London Coliseum, review
http://www.telegraph.co.uk/culture/music/opera/9078901/Tales-of-Hoffman-ENO-London-Coliseum-review.html
Princeton/ Music Review
Prokofiev Version of “Eugene Onegin’ in a Russian Weekend at Princeton
http://www.nytimes.com/2012/02/13/arts/music/prokofiev-version-of-eugene-onegin-at-princeton.html
Los Angeles
Opera review: Placido Domingo in L.A. Opera’s ‘Simon Boccanegra’
Mehr Info
Sammelreview zu Oper/Konzerte in London
Così fan tutte; Dream Hunter; Commotio; Stephen Hough, LPO/Alsop – review
http://www.guardian.co.uk/music/2012/feb/12/cosi-tutte-dream-hunter-review?newsfeed=true
New York
Kyle Ketelsen and Bryn Terfel Step in as Leporello in Metropolitan Opera’s DON GIOVANNI
Mehr Info
San Francisco
Review: Ensembel Parallèlle’s opulent ‘Gatsby’ lacks excitement
http://www.mercurynews.com/music/ci_19944255
John Harbison’s opera thrives in chamber version
http://www.mercurynews.com/music/ci_19944255
London
Tales of Hoffmann, English National Opera
A kitsch fantasy of a production brings the best out of Offenbach’s opera
http://www.theartsdesk.com/opera/tales-hoffmann-english-national-opera
The Tales of Hoffmann: English National Opera
10th February 2012
Mehr Info
London
La Fanciulla del West, Opera UpClose, and La Traviata, Merry Opera Company, review
The austerity phenomenon of opera popping up in pubs continues to gather momentum.
Mehr Info
New York
To Betray Her Love or Her Country?
Aida an der Met mit Marcelo Álvarez and Violeta Urmana
“Aida’ at the Metropolitan Opera
Mehr Info
Variable singing and empty spectacle make for a less-than-stellar Met “Aida”
Mehr Info
Stephanie Blythe redeems mediocre Met `Aida’
Mehr Info
London
Opera Review: Cosi fan tutte, Royal Opera House
Weiteres zu Cosi fan tutte am ROH und Rosenkavalier an der ENO
Mehr Info
London
Opera Review: Der Rosenkavalier, English National Opera
http://www.express.co.uk/posts/view/300492/Opera-review-Der-Rosenkavalier-English-National-Opera
New York
The Machine in the Garden
Thoughts on the new “Ring” — and on the state of Peter Gelb’s Metropolitan.
http://nymag.com/arts/classicaldance/classical/reviews/metropolitan-opera-davidson-2012-2/
Houston
Not easy to watch, but HGO’s passionate The Rape of Lucretia has thrilling moments
http://houston.culturemap.com/newsdetail/02-05-12-houston-grand-opera-rape-of-lucretia-review/
Wichita
“Il Trovatore” powerfully opens Wichita Grand Opera’s season
http://www.kansas.com/2012/02/05/2204217/il-trovatore-powerfully-opens.html
London/Dvoraks Oper “Der Jakobiner” konzertant in London:
The Jacobin – review
Apart from Rusalka, Dvořák’s operas are rarely revived outside the Czech Republic.
http://www.guardian.co.uk/music/2012/feb/05/the-jacobin-review?newsfeed=true
BBCSO/Bělohlávek
http://www.musicomh.com/classical/barbican-jacobin_0212.htm
New York/Ernani an der MET
One Fair Maiden, an Army of Suitors and That Old Foil, Honor – Angela Meade in “Ernani’ at
Metropolitan Opera
http://www.nytimes.com/2012/02/04/arts/music/angela-meade-in-ernani-at-metropolitan-opera.html
Met’s “Ernani” revival proves a variable bag of Verdi
http://theclassicalreview.com/2012/02/mets-ernani-revival-proves-a-variable-bag-of-verdi/
Rising star Angela Meade in Met Opera’s `Ernani’
Mehr Info
Lukewarm & earnest “Ernani’
Mehr Info
London
Der Rosenkavalier, ENO, Coliseum, review
http://www.telegraph.co.uk/culture/music/opera/9057404/Der-Rosenkavalier-ENO-Coliseum-review.html
London
Philharmonia/Masur, Festival Hall – review
It is some time since he achieved Grand Old Man status but Kurt Masur’s appearances in London now have a special aura.
http://www.thisislondon.co.uk/music/review-24033164-philharmoniamasur-festival-hall—review.do
San Diego
Opera review: ‘Salome’ holds the eyes, ears in bold San Diego Opera staging
Mehr Info
London
Der Rosenkavalier, ENO, Coliseum, review
http://www.telegraph.co.uk/culture/music/opera/9057404/Der-Rosenkavalier-ENO-Coliseum-review.html
London
Philharmonia/Masur, Festival Hall – review
It is some time since he achieved Grand Old Man status but Kurt Masur’s appearances in London now have a special aura.
http://www.thisislondon.co.uk/music/review-24033164-philharmoniamasur-festival-hall—review.do
San Diego
Opera review: ‘Salome’ holds the eyes, ears in bold San Diego Opera staging
Mehr Info
Paris
Only the excellent singing saves this production – an opera based on Chekhov’s Cherry Orchard – from becoming a total fiasco
Neue Oper nach Tschechows “Kirschgarten” von Philippe Fénelon La Cerisaie, Paris Opera (Garnier)
http://www.ft.com/cms/s/2/c1bbdcd8-4c11-11e1-b1b5-00144feabdc0.html#axzz1lDvAjIWC
Moskau
Russia’s shiny new Bolshoi grappling with gripes
Kritisches Resümee der ersten Monate nach der Wiedereröffnung des Bolschoi
http://www.reuters.com/article/2012/02/01/uk-russia-bolshoi-gripes-idUSLNE81003720120201
New York
Dead Ringer: Robert Lepage’s Götterdämmerung Leaves Something To Be Desired, Echoes Zeffirelli Spectacles
Mehr Info
Zürich
‘Meistersinger,’ Wagner’s Heart-Warming Opera
Engl. Kritik zu den “Meistersingern” in Zürich
http://www.nytimes.com/2012/02/01/arts/01iht-loomis01.html
London
Il Prigioniero, Philharmonia, Festival Hall/ Wagner Dream, BBC SO, Barbican, review
Mehr Info
Royal Opera House, London
Così Fan Tutte – review
http://www.guardian.co.uk/music/2012/jan/31/cosi-fan-tutte-review?newsfeed=true
New York
An Early Wagner, but With All the Trademark Bells and Whistles
Weitere Review zum konzertanten Rienzi
http://www.nytimes.com/2012/02/01/arts/music/wagners-rienzi-from-opera-orchestra-at-avery-fisher-hall.html
Boston/ Barockopernrarität
Helios Early Opera’s Charpentier; plus, the BSO’s Mendelssohn Lobgesang
Marc-Antoine Charpentier’s “David et Jonathas”
http://thephoenix.com/boston/music/133370-helios-early-operas-charpentier-plus-the-bsos-/
Houston
HGO, soprano do ‘La Traviata’ justice “La Traviata is why opera was invented”
http://www.chron.com/life/article/HGO-soprano-do-La-Traviata-justice-2881670.php
28.1.2012
A “Ring’ Finale of Gods and the Machine
At Metropolitan Opera, Lepage’s “Götterdämmerung’
http://www.nytimes.com/2012/01/30/arts/music/robert-lepages-gotterdammerung-at-the-met-review.html
“Götterdämmerung” closes the Met’s Ring strongly with big questions still in twilight
http://theclassicalreview.com/2012/01/gotterdammerung-closes-the-mets-ring-strongly-with-big-questions-in-twilight/
Götterdämmerung
http://www.theatermania.com/new-york-city/reviews/01-2012/gandoumltterdandaumlmmerung_48908.html
London
Strauss, Der Rosenkavalier, English National Opera
http://www.independent.co.uk/arts-entertainment/classical/reviews/strauss-der-rosenkavalier-english-national-opera-6296379.html
David McVicar and Edward Gardner deliver a riveting account of Strauss’s popular opera
http://www.theartsdesk.com/opera/der-rosenkavalier-english-national-opera
Strauss: Rosenkavalier, English National Opera
http://www.musicalcriticism.com/opera/eno-rosenkavalier-0112.shtml
Leeds
Norma – review
http://www.guardian.co.uk/music/2012/jan/29/norma-opera-review?newsfeed=true
Glasgow
Into the woods with Scottish Opera’s Hansel And Gretel
http://www.heraldscotland.com/arts-ents/music/into-the-woods-with-scottish-operas-hansel-and-gretel.1327806445
Dallas
Will You Watch the Dallas Opera’s “Magic Flute’ At Cowboys Stadium?
http://frontrow.dmagazine.com/2012/01/will-you-watch-the-dallas-operas-magic-flute-at-cowboys-stadium/
Glasgow
Betrothal in a Monastery – review- Theatre Royal, Glasgow
Prokofjews “Die Verlobung im Kloster” in einer Koproduktion von Scottish Opera u. Royal Conservatoire of Scotland (Englisch) http://www.guardian.co.uk/music/2012/jan/23/betrothal-in-a-monastery-review?newsfeed=true
Betrothal in a Monastery
Scottish Opera’s production communicates a flair for comedy and character that reveals the stature – and charm – of Prokofiev’s opera
http://www.ft.com/cms/s/2/9593821a-45ad-11e1-acc9-00144feabdc0.html#axzz1kNHySvcV
London
Bryn Terfel’s Faenol Festival to be revived – in London
http://www.walesonline.co.uk/news/wales-news/2012/01/24/bryn-terfel-s-faenol-festival-to-be-revived-in-london-91466-30183952/
Chicago
Giordani and a worthy cast belatedly ignite the Lyric Opera’s “Aida”
Aida an der Lyric Opera of Chicago mit Sondra Radvanovsky and Marcello Giordani (Englisch)
http://theclassicalreview.com/2012/01/giordani-and-a-worthy-cast-belatedly-ignite-the-lyric-operas-aida/
The spectacle — and the singing — make Lyric’s ‘Aida’ grand
http://www.chicagotribune.com/entertainment/music/ct-ent-0123-aida-review-20120123,0,2627148.column
“Aida’ star’s stamina enviable but intimacy lacking
http://www.suntimes.com/entertainment/stage/10168438-421/aida-stars-stamina-enviable-but-intimacy-lacking.html
“AIDA” (Lyric Opera): Epic Love Story Stuns!
http://www.chicagonow.com/the-fourth-walsh/2012/01/aida-lyric-opera-epic-love-story-stuns/
New York
The Enchanted Island, Metropolitan Opera Live in HD, review
http://www.telegraph.co.uk/culture/music/opera/9032518/The-Enchanted-Island-Metropolitan-Opera-Live-in-HD-review.html
London
Weitere Reviews zum Don Giovanni am Royal Opera House
http://www.opera-britannia.com/index.php?option=com_content&view=article&id=632:don-giovanni-the-royal-opera-21st-january-2012&catid=8:opera-reviews&Itemid=16
Don Giovanni, Covent Garden – review
http://www.thisislondon.co.uk/music/review-24030023-don-giovanni-covent-garden—review.do
Toronto
Review: Adrianne Pieczonka’s Tosca the best thing in COC’s production of Puccini classic
Weitere “Tosca”-Reviews (Englisch)
http://www.thestar.com/article/1119394–review-adrianne-pieczonka-s-tosca-the-best-thing-in-coc-s-production-of-puccini-classic
A toast to Tosca
Simple telling of timeless tale highlights stunning performances, orchestration
http://www.torontosun.com/2012/01/22/a-toast-to-tosca
Memphis
Review: Opera Memphis bats 1,000 with ‘Fledermaus’
Operatic technique, humor abound
“Die Fledermaus” zu Gast in Tennessee (Englisch)
http://www.commercialappeal.com/news/2012/jan/23/opera-memphis-bats-1000-with-fledermaus
London
Mozart, Don Giovanni, Royal Opera House
Mit Gerald Finley, Don Giovanni, Adam Plachetka als Masetto (Englisch)
Mehr Info
(Zitat) “Adam Plachetka revealed a sonorous bass-baritone as Masetto
and was one of the few singers onstage whom I want to hear again”
http://www.musicomh.com/opera/roh-giovanni_0112.htm
(Zitat) „Adam Plachetka’s dark-toned Masetto was a pleasant surprise“
http://www.theartsdesk.com/opera/don-giovanni-royal-opera-house
Leeds u.a.
“Giulio Cesare; Wye Valley chamber music festival; Bournemouth Symphony Orchestra/Karabits – review” – Sammelrezension, u.a. Opera North “Giulio Cesare” (Englisch)
Mehr Info
Toronto
Canadian Opera Company: Adrianne Pieczonka as Tosca
http://arts.nationalpost.com/2012/01/22/opera-review-cocs-tosca/
Utah
„No clowning around in Utah Opera’s exciting “Rigoletto’”
Mehr Info
Birmingham
Meistersinger konzertant mit Wolfgang Koch als Sachs (Englisch)
Mehr Info
Verdis “Attila” in Seattle
(Englisch)
http://www.heraldnet.com/article/20120115/BLOG39/120119877#%22Attila%22-invades-Seattle-Opera
http://oregonmusicnews.com/2012/01/18/seattle-operas-attila-boils-over-with-revenge-political-intrigue-and-love/
Selbst starker Schneefall kann “Attila” nichts anhaben! “Attila conquers Seattle snow” (Englisch)
http://www.heraldnet.com/article/20120118/BLOG39/120119812
http://seattletimes.nwsource.com/html/artspage/2017272807_must_the_show_go_on.html
Sidney
“Turandot” in Sidney
(Englisch)
http://blogs.crikey.com.au/curtaincall/2012/01/19/review-turandot-opera-theatre-sydney/
Spectacular Turandot still sings
http://www.theaustralian.com.au/news/arts/spectacular-turandot-still-sings/story-fn9d31nx-1226247972264
New York
“Faust” with Calleja /Metropolitan Opera (Jan.2012)
http://www.nytimes.com/2012/01/16/arts/music/faust-with-joseph-calleja-at-the-met-review.html?_r=1&smid=tw-nytimesmusic&seid=auto
Soll es mehr Computeranimation und digitale Effekte im Theater geben? (Englisch)http://www.guardian.co.uk/stage/theatreblog/2012/jan/16/theatre-more-imagination-animation
Kritik über “Tosca” an der Met mit Alagna (Englisch)
Mehr Info
Neuigkeiten von Cecilia Bartoli für 1. Halbjahr 2012 (Englisch)
Mehr Info
BAYREUTH: TANNHÄUSER – Premiere
Rezension der Premiere 25.7.)in portugiesischer Sprache
http://www.concerto.com.br/textos.asp?id=235
London/ Covent Garden: IL TRITTICO von Giacomo Puccini am 13.9.2011
http://www.thisislondon.co.uk/music/review-23986305-il-trittico-covent-garden—review.do
SAN FRANCISCO OPERA. “Der Ring de Nibelungen” – 14.6. – 19.6.2011
The San Francisco Opera has just presented its sixth “Ring Cycle” and the big star in this recent production was the Swedish soprano NINA STEMME
in the role of Brünnhilde. She continued to maintain San Francisco Opera’s earlier high Brünnhilde standards set by such stars as KIRSTEN FLAGSTAD in 1934, and BIRGIT NILSSON in 1972, in which Nilsson’s made her American debut. Then in 1985 and again in 1990, came GWYNETH JONES’s greatly lauded Brünnhilde performances in two different “Ring” productions. And in1990, JANE EAGLEN presented another superior Brünnhilde performance.
In addition to Nina Stemme’s outstanding Brünnhilde performance, the San Francisco Opera’s “Ring” also featured other remarkable aspects. Much of its shared staging had initially been created by the Washington National Opera. The germination of this collaboration perhaps began in 2003 when Washington Opera’s Music Director PLACIDO DOMINGO and stage designer FRANCESCA ZAMBELLO created an unusual”Die Walküre”. The production was staged in Washington DC’s cavernous Constitution Hall auditorium because its regular Kennedy Center Opera House was undergoing renovations. The orchestra was positioned at the back of the stage, hidden by a scrim. Its conductor HEINZ FRICKE, who was giving the singers their cues, could only be seen on screens that were positioned over the hall’s exit doors. Obviously, it was a challenging production and a lot was learned from it.
By 2006, the Washington Opera decided to do its first “Ring Cycle”, and began with “Das Rheingold”. Domingo again invited Francesca Zambello to assist him in its staging. The production introduced video insertions that enhanced the musical interludes such as a flowing stream simulating an undulating Rhine river. Zambello attempted to convey the gods’ world filled with graft and corruption, equating it with a modern American flavoring. In one scene, for example. Wotan appeared at a large modern desk with a telephone on it, discussing Valhalla’s future with Fricka. With the success of “Das Rheingold”, the Washington Opera revised its “Walk üre”, and Zambello forged it into a more creative version in which, for example, the Valkyrie ladies slid down steel wire cables to deliver white wrapped dead heroes to the gods at Valhalla.
In 2009, Washington created “Siegfried,” the third in the four opera sequence, and once again Zambello assisted in its staging. A dilapidated trailer served as Siegfried’s home; and when Siegfried goes to kill Fafner the dragon, Fafner appeared as a huge iron contraption with terrifying large steel claws. After Siegfried kills the dragon, Fafner’s blood flowed like oil. Later meets up with a pathetic Wotan and finally bursts through Brünnhilde’s burning fire to awaken her.
About two years ago, the San Francisco Opera began plans for its new”Ring Cycle”. At this point, Francesca Zambello had for many years served as San Francisco Opera’s Artistic Advisor and had been involved with some twenty San Francisco Opera productions. She of course was well acquainted with the three”Ring”operas that she and the Washington Opera had staged, and also was aware that Washington’s “Götterdämmerung” had not yet been mounted. A collaborative joint effort soon evolved when San Francisco Opera officials decided to introduce the Washington Opera’s first three “Ring” opera productions which would adequately serve their needs, and they would then produce their own San Francisco production of “Götterdämmerung”. – and of course hire the casts for all of the four operas. By May of this year everything was completed. 26 huge trucks loads of scenery and costumes had been transported from Washington, DC to San Francisco. Earlier, video tapes had been edited down from the 100 hours of taping. And San Francisco’s stage crew of 115 helped prepare for the opening June Ring Cycle. Some 76 singers and 50 extras would also enhance their new “Gotterdammerung” production.
This San Francisco Ring offering was an overwhelming success. As mentioned, NINA STEMME was its great star, and it was to be her initial debut in that role of Brünnhilde. She excelled in the three different Ring” operas in which she appeared, and by far was the most statuesque of the Valkyrie sisters. Her relationship with Wotan was tenderly conveyed even though she had been punished by Wotan and knew she no longer possessed a godly status; she still showed him love as an obedient submissive child. In her “fire” awakening scene, she at first seemed somewhat hesitant. (Two decades is a long time to sleep.) Soon her ecstatic joy of waking to Siegfried’s amorous reactions stirred things up. Then, in “Götterdämmerung”, she showed the depths of her soul as she anguished over Siegfried’s tricked marriage arrangement. Throughout, her voice was brilliant, clear, bright, refreshingly smooth and majestic. Indeed here was an historic performance!
Like Brünnhilde, Wotan, the King of the gods, also appears as a central figure in three of the four operas. Wotan was sung by MARK DELAVAN. In his portrayal, he conveyed the torture of a guilt ridden man whose crooked dealings and a lust for power eventually spelt his doom. His farewell scene with Brünnhilde was tenderly moving. However, in one or two places, his beautiful baritone voice was not grandiose enough. Also, it was obvious that he suffered from his annoying, nagging wife Fricka. ELIZABETH BISHOP appeared in the Fricka role. Here she assertively conveyed her highly motivated defense of wedded vows, battling Wotan over the incestuous love affair of twins, Sieglinde and Siegmund. Vocally and dramatically she won this battle. In contrast to Fricka’ assertive demands, the twins’ sweet, romantic love duet was an enchanting relief. ANJA KAMPE, as Sieglinde, conveyed a sweet, nicely projected voice. BRANDON JOVANOVICH with his handsome blonde Nordic appeal, also possessed a beautifully focused tenor voice that added to their tender portrayal.
Alberich, as sung assertively by GORDON HAWKINS, was another of the major characters who appeared in three of the four operas. The bass baritone very adequately performed his villainous role, robbing the maidens of their gold, brutalizing his slaving cave workers and bewitching those who sought to possess his gold ring that he designed..
The role of Siegfried also represents a major role in the “Ring”. However, in this San
Francisco Opera staging, there were two tenors who tackled the demanding role. Initially, the British heldentenor IAN STOREY was scheduled to appear in both “Siegfried” and “Götterdämmerung”. However, at an early April rehearsal, Storey, who was singing the role for the first time, felt he was not ready to do the two operas. His tenor understudy, JAY HUNTER MORRIS, then agreed to sing the title role in”Siegfried” and Storey agreed to perform the Siegfried role in the Göttterdämmerung” production. Morris’s portrayal displayed a fine lyrical voice. However, in Storey’s performance, his voice in Second Act of “Götterdämmerung” floundered and was somewhat muffled. An announcement was made before Act III began that Storey was suffering from throat disorder, but with the help of some medicine, he would carry on. The pills must have helped because his clear vibrant tenor voice was eventually beautifully displayed.
Overlooking this one brief difficult moment, most of the singers excelled. In “Das Rheingold”, for example, STEFAN MARGITA, in the role of Loge, the Fire God, displayed one of the finest voices in the entire Ring. His voice resounded beautifully and penetrated clearly through out the opera house. RONNITA MILLER, who appeared as the Earth Goddess Erda, was another outstanding singer. Her lower notes were fantastic. She also appeared as one of the Valkyries. Then there were the two giant brothers Fasolt and Fafner, sung by bass ANDRES SILVESTRELLI and bass baritone DANIEL SUMEGI, who both eventually die because of their Ring ownership. Each fulfilled their dramatic and vocal demands splendidly. In “Das Rheingold”, their stilted giant platform boots and enlarged gloved hands had a humorous affect. Later, in “Götterdämmerung”, (a generation later) Silvestrelli appeared in the role of Alberich’s son Hagen. Once again he sang with assertive vocal finesse, displaying a forceful portrayal. As Hagen, he bedded his step sister Gutrune. ( Gutrune was finely enacted by MELISSA CITRO.) Later Hagen murders Siegfried and then kills his own half-brother Gunther. Gunther was sensitively performed by the baritone GERD GROCHOWSKI. He appeared as a handsome blonde suitor and proved to be a fine actor, with a beautifully projected voice. In “Siegfried”, the role of Mime was cleverly sung by DAVID CANGELOSI and his added successful cartwheels will long be remembered. And in the same opera, STACEY TAPPEN’s sweet voice performed the fluffy role of the Forest Bird, and also provided an extra delightful visual addition in her red pants suit.
Of course there were other high moments like the wonderful”Ride of the Vaklyries” where the eight Valkyries ladies descended from above in parachutes, wearing caps with goggles, adding just another modern touch. The Valkyries ladies were sung by CYBELE GOUVERNEUR, DAVEDA KARANAS, SARA GARLAND, TAMARA WAPINSKY, MAYA LAHYANI, RENEE TATUM, LAUREN MCNEES. and of course Nina Stemme.
Throughout the four allegorical operas, visual impressions matched Wagner’s musical motifs, augmenting the intensity of the drama. At the opening of “Das Rheingold”, for example, the murmuring double bass hushed tones were matched visually by an accompanying video projection focused on a screen that featured a serene flowing river with its peaceful blue rippling water that quietly accompanied the primordial Rhine leitmotif. And then, when the curtain rose, the three cheerful Rhine maidens – STACEY TAPPAN, LAUREN Mc NEES and RENÉE TATUM – bounced about the stage in the steamy illusive Rhine mist and begin to tease Alberich. Later, as the mis-guided gods pursue their greedy quests, we see on a video screen the once beautiful flowing Rhine visually clogged as a dried up stream.
Throughout the four operas, as reoccurring leitmotifs re-occur, video images matched the music, gradually conveying, more and more, a pessimistic view of the declining dying days of the gods.. These visual images were viewed through a modern day prism. Siegmund and Sieglinde’s pristine forest turned into a burned out devastated waste land. A once scenic landscape became junk yard filled with worn out car tires. Unattached electric wires hang loosely; a railroad tank car rushed along a track to no where, conveying a feeling of uselessness. A blue steel chimney, over looking a power plant, spewed out black smoky soot, intensifying the message of the gods’ final days.
The variety of modern day visual images and stage sets, according to Zambello’s designs, perhaps were used to peak our own subjective view of today’s failing morality. In “Das Rheingold”, Wotan’s modern office with its grandiose glass window, features a skyscraper view of a city like New York as seen from above, as if viewed from Valhalla. Then, in “Götterdämmerung”, in Hagen’s spectacular living room with its gigantic slanted glass window positioned into a shiny chrome encasement, the setting conveyed a phony flavor of modern richness.
Of course, the orchestra, conducted by DONALD RUNNICLES, provided the very essential support that was so necessary. Throughout, the orchestra accompaniment was superb due to Runnicles’s outstanding grasp of the score, tempi and its dramatic momentum. Runnicles had been the Opera Company’s principal conductor for the past eighteen years, and had directed the Company’s last two “Ring Cycles”. One could only fault one or two tricky French Horn entrances, which is understandable since much of the score features Wagner’s richly embellished brass orchestration. It also was very apparent that Runnicles was great audience favorite because at the conclusion of each opera, he receiving a rousing overwhelmingly warmhearted acknowledgment.
In the final moments of “Götterdämmerung”, after Brünnhilde has laid the dead Siegfried on the funeral pyre , and before she too dies on the pyre, her expiation becomes complete when she returns the golden ring to the original the Rhinemaidens. And Valhalla had been relegated to ashes. Then, a small child, dressed in a white gown, appeared on the stage carrying a branch of a tree. And then planted it. ( Was this a branch from an apple tree that Freia the goddess of youth has once nurtured? Or perhaps maybe it was a branch from the Ash Tree that Wotan once had forged for his magical wand?) So, here was a child planting a new tree, perhaps symbolizing the beginning of a new world order. Perhaps the world would no longer be engulf by greed and corruption. Perhaps, according to this San Francisco staged offering, perhaps there might be hope for a up lifting, bright, caring new redeeming world.
Nancy Lang.
@
Vienna State Opera (June 2011)
The New York Times /Katja Kabanova
Janacek opera in Vienna depressingly enjoyable
http://www.heraldextra.com/entertainment/article_dbe8a95e-5441-50ba-a69a-960975390bd0.html
London
Werther, Royal Opera House, review – May 2011
By the end of a tense first night the audience was reminded why Rolando Villazon caused such a sensation when he first appeared on the scene. Rating: * * *
http://www.telegraph.co.uk/culture/music/opera/8498563/Werther-Royal-Opera-House-review.html
London/ Anna Nicole – Pr. 17. Febr. 2011
Royal Opera House, London
Anna Nicole – review
http://www.guardian.co.uk/music/2011/feb/18/anna-nicole-review
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