Friday, July 31, 2015
Thursday, July 30, 2015
The challenge of Frank Castorf’s Ring, now in its third year, is that it cannot be read in those terms. It rejects those premises. The more you ask what it “means,” the less you will see what it is.
Here are a few thoughts on Rheingold.
Wednesday, July 29, 2015
Hans Neuenfels’s Bayreuth Festival Lohengrin has become an improbably beloved production. Klaus Florian Vogt’s Lohengrin is justifiably the most popular performance of the festival and the score sounds amazing in the space, even though it predated the Festspielhaus. But the production: famous for its chorus of rats, it seemed like the kind of thing that would be remembered for one weird image, put into a collective Strange Opera photo album along with Neuenfels’s Nabucco with bees and that Bieito Ballo that no one can get over. Instead it became an almost instant classic. In part it is memorable for the rats’ indexicality, yet the rats are not only an image but a compelling idea. And while the rats would seem to preclude the romantic knight in shining armor aspect of this opera, that’s not really what happens.
Monday, July 27, 2015
And rarely has the search for the true self looked so much like a twisted Busby Berkeley musical!
Friday, July 24, 2015
The Bregenz Festival’s main attraction is an opera performed on a stage anchored in Lake Constance (in it!) to a huge amphitheater. They’re probably best known for their appearance in the James Bond film Quantum of Solace. That may not sound like a setup for quality musicianship or aesthetic risk-taking, but you might be surprised--that Tosca glimpsed in the Bond movie is actually pretty interesting if you watch the whole thing and nightly something approximating the Wiener Symphoniker is in the pit. (Note: not actually a pit.) Nothing against Verona, but this ain’t Verona.
Not quite, that is. There’s plenty of fire juggling as well. Bregenz wobbles between the largest, heaviest Regietheater you will ever see and the Cirque de Soleil-type spectacle the dramatic setting and mass audience suggests. New intendant Elisabeth Sobotka seem acutely aware of the challenge; in an interview in the festival’s own publicity she calls their Andrea Chénier of a few years ago an artistic triumph but very difficult financially, while she simply calls the most recent production, of Zauberflöte, very economically successful, leaving its artistic virtues or lack thereof tactfully undescribed.
This tension is acutely visible in their new production of Turandot, which opened on Wednesday night. Director Marco Arturo Marelli tries to problematize the opera’s exotic cake and eat it too. While at times he succeeds by brute force, the result is mild indigestion.
Thursday, July 23, 2015
Tuesday, July 21, 2015
First I saw Lakmé, a veritable celebration of British colonialism, in posh Holland Park, at an opera house whose tickets contain a note about where to position your pre-opera picnic. Then I went to Glyndebourne, an elaborate imperial picnic venue which also happens to perform opera. And there I saw, of all things, Die Entführung aus dem Serail, an older and less Britain-centric exotic relic, but, still. (Then there was Guillaume Tell, which was less site specific.)
Rest assured that I did not plan this--but, since the other operas on at present include Falstaff and Aida, I likely would have ended up in the same place even if my choices had been somewhat different.
Anyway, I arrived in Glyndebourne with my friend and our picnic and I enjoyed the gardens and sheep and the fancy dresses of everyone else who was out in rural England for opera in the middle of a Thursday afternoon. It really is a beautiful and relaxing setting. I don’t think that Calixto Bieito’s Entführung (an example I use altogether too frequently but what else would work here?) would be at home. It’s not that provocation and leisure are incompatible, and the Glyndebourne model in fact offers ample time for reflection. But, on another level, how pleasant does your sex slavery Singspiel have to be for it to go with your picnic?
Saturday, July 18, 2015
"Staging opera means interpreting a score’s ambiguities, and each performance must bridge the space between operatic history and the present. Inevitably, modern anxieties and prejudices fill the gaps. And few issues are more personal and contentious than the representation of rape."
I wrote about the Royal Opera's production of Rossini's Guillaume Tell for the New York Times. You can read my piece there, or in the July 19 Arts and Leisure section.
photo copyright Clive Barda