Recent performances of Nicolas Hytner's Don Carlo at the Royal Opera House.
The production premiered in June 2008 and this new run featured Jonas Kaufmann as Don Carlo and Simon Keenlyside as Posa.
All photographs - Catherine Ashmore
Showing posts with label london. Show all posts
Showing posts with label london. Show all posts
Oct 6, 2009
May 22, 2008
ACA's Carmen
London, Royal Opera House
Broadcast of the Dec.19, 2006 performance
DVD also available
Pictures of the production there
Carmen : Anna Caterina Antonacci
Don José : Jonas Kaufmann (role debut)
Michaëla : Nora Amsellem
Escamillo : Ildebrando d’Arcangelo
Zuniga : Matthew Rose
Le Dancaïre : Jean Sebastien Bou
Le Remendado : Jean Paul Fouchécourt
Morales : Jacques Imbrailo
Fraquita : Elena Xanthoudakis
Mercedes : Viktoria Vizin
Conductor : Antonio Pappano
Director : Francesca Zambello
Anna Caterina Antonacci© 2006 by Catherine Ashmore
At last a production that captures the true essence of an opera…
Francesca Zambello’s view may seem unoriginal on the surface (simple set, costumes that could have been seen in Paris when Carmen was created in 1875, choreography true to the Spanish/Gypsy atmosphere), yet it’s the first time I’ve seen such a care to portray Don José as he was intended in Bizet’s mind.
In June 1872, the Opéra Comique in Paris ordered a new opera to Bizet, who chose to build the story based on Prosper Mérimée’s novel, Carmen (1845). If the librettists Meilhac and Ludovic Halévy were excited by this choice, the minister Adolphe de Leuven was horrified by it: it was unconceivable, according to him, to see a dramatic ending in the Opéra Comique, as well as depraved and low-life gypsies.
After all, this House was the place of choice for families and wedding arrangements.
In order for the piece to be accepted, Bizet was urged to change the ending into a happy one (which he refused) or at least to make Don José more lovable by introducing a new and pure character, Micaëla, his childhood sweetheart.
In the composition of the opera, the distinction between the arias of Carmen and Micaëla is obvious, the latter singing in the usual Opéra Français style (duet “Parle-moi de ma mère” in Act One for instance), while Carmen is granted with the Spanish connotation.
The Opéra Comique is also responsible, by the way, for the spoken parts in the piece (which I don’t think add anything to the story).
The audience at the premiere included Délibes, Gounod, Massenet, Offenbach, Thomas, Alphonse Daudet and Alexandre Dumas-fils. Yet the piece was a huge failure, as the libretto was too shooking and the music too awkward.
In any case, Carmen was build around an aggressive and mean Don José, and nowadays, almost all the productions of this piece portray him as a kind soul whose only fault is his jealousy.
Well, Francesca Zambello took on Bizet’s approach, and Jonas Kaufman, with his dark voice and rustic appearance was indeed the perfect tenor for this (although I was very sceptical in the beginning). We’re miles away from the crystalline singing of Nicolaï Gedda but this approach definitely made me revisit what I expect of Don José. How often can a production alter for the best the perception you have of a piece, seriously?
Francesca Zambello’s view may seem unoriginal on the surface (simple set, costumes that could have been seen in Paris when Carmen was created in 1875, choreography true to the Spanish/Gypsy atmosphere), yet it’s the first time I’ve seen such a care to portray Don José as he was intended in Bizet’s mind.
In June 1872, the Opéra Comique in Paris ordered a new opera to Bizet, who chose to build the story based on Prosper Mérimée’s novel, Carmen (1845). If the librettists Meilhac and Ludovic Halévy were excited by this choice, the minister Adolphe de Leuven was horrified by it: it was unconceivable, according to him, to see a dramatic ending in the Opéra Comique, as well as depraved and low-life gypsies.
After all, this House was the place of choice for families and wedding arrangements.
In order for the piece to be accepted, Bizet was urged to change the ending into a happy one (which he refused) or at least to make Don José more lovable by introducing a new and pure character, Micaëla, his childhood sweetheart.
In the composition of the opera, the distinction between the arias of Carmen and Micaëla is obvious, the latter singing in the usual Opéra Français style (duet “Parle-moi de ma mère” in Act One for instance), while Carmen is granted with the Spanish connotation.
The Opéra Comique is also responsible, by the way, for the spoken parts in the piece (which I don’t think add anything to the story).
The audience at the premiere included Délibes, Gounod, Massenet, Offenbach, Thomas, Alphonse Daudet and Alexandre Dumas-fils. Yet the piece was a huge failure, as the libretto was too shooking and the music too awkward.
In any case, Carmen was build around an aggressive and mean Don José, and nowadays, almost all the productions of this piece portray him as a kind soul whose only fault is his jealousy.
Well, Francesca Zambello took on Bizet’s approach, and Jonas Kaufman, with his dark voice and rustic appearance was indeed the perfect tenor for this (although I was very sceptical in the beginning). We’re miles away from the crystalline singing of Nicolaï Gedda but this approach definitely made me revisit what I expect of Don José. How often can a production alter for the best the perception you have of a piece, seriously?
The children’s chorus was full of life and extraordinary realistic, and I also loved the first silent picture of Don José (during the overture), handcuffed, dirty, visibly disoriented and in despair, holding the faded rose Carmen once gave him and being taken away to die. A simple idea, yet perfectly describing the essence of this opera in just a few seconds.
I know Londoners don’t like it when someone dares to criticize Antonio Pappano and his conducting, but I have to say his interpretation lacks the flamboyance of Georges Prêtre’s and I’m not sure being a singers’ conductor turns out to suit this work: it slowed down the rhythmn at times, and the rhythmics is paramount in this piece.
I know Londoners don’t like it when someone dares to criticize Antonio Pappano and his conducting, but I have to say his interpretation lacks the flamboyance of Georges Prêtre’s and I’m not sure being a singers’ conductor turns out to suit this work: it slowed down the rhythmn at times, and the rhythmics is paramount in this piece.
© 2006 by Catherine AshmoreIldebrando d’Arcangelo (or Michelangelo, as I call him) was a powerful Escamillo (even if bringing a magnificent horse on stage didn’t really bring anything to the production, it was fascinating to watch him sing while riding it). The score is not really his cup of tea, and neither is the French language, but his stage presence is always outstanding and made up for his weaknesses.
Nora Amsellem was a weak Micaëla with way too much vibrato everywhere; the two gypsies Elena Xanthoudakis and Viktoria Vizin were pretty good, especially the latter.
The Carmen of Anna Caterina Antonacci is simply extraordinary.
She has the fire in her eyes to own the character from the very first few seconds; her stage presence is phenomenal and suits exactly the role, her acting skills are brilliant, her French diction is perfect and her singing is amazing. What more can you ask for?
So obviously people, I will try and see her in Toulouse next April…
Nora Amsellem was a weak Micaëla with way too much vibrato everywhere; the two gypsies Elena Xanthoudakis and Viktoria Vizin were pretty good, especially the latter.
The Carmen of Anna Caterina Antonacci is simply extraordinary.
She has the fire in her eyes to own the character from the very first few seconds; her stage presence is phenomenal and suits exactly the role, her acting skills are brilliant, her French diction is perfect and her singing is amazing. What more can you ask for?
So obviously people, I will try and see her in Toulouse next April…
YouTube extracts of this production:
- Carmen’s Habanera, " L’amour est un oiseau rebelle "
- Carmen, gypsy's song "Les tringles des sistres tintaient"
- Carmen & Don José, final duet "C'est toi, c'est moi"
- Don José, "La fleur que tu m'avais jetée"
- Escamillo, Toreador's song, "Votre toast, je peux le vous le rendre"
© 2006 by Catherine AshmoreFeb 19, 2008
Cinderella story
Paul Whelan, centre, Clive Barda's pictureEver heard of ENO understudy bass-baritone Paul Whelan?
Last Saturday night, he saved the English National Opera performance of Lucia di Lammermoor.
When Clive Bayley (left on the picture), in the role of Raimondo, lost his voice after the first scene, Whelan, who was attending the show with a group of friends, was hurriedly ushered backstage but didn't have enough time to put the costume and had to sing from the side of the stage, while Bayley stayed in costume to mime for the next two hours.
This incredible story has been extensively reported on in the British press, of course.
- "Opera saved by a star in the wings as lead singer is taken ill", Benedict Moore-Bridger for the Evening Standard
- "Why the man in a suit took the curtain call in Lucia di Lammermoor", Andrew Pierce for The Telegraph
- "ENO's Lucia Offers Drama Off- and Onstage
Indisposition of two singers does not compromise the sense of sheer, familial madness", Keith Clarke for MusicalAmerica.com
- "Bravo for stand-in opera hero", The Sun
- "Is there a baritone in the house? Opera saved by a star in the audience as lead singer is taken ill", The Daily Mail
- "ENO understudy steps out of shadows", The First Post
Last Saturday night, he saved the English National Opera performance of Lucia di Lammermoor.
When Clive Bayley (left on the picture), in the role of Raimondo, lost his voice after the first scene, Whelan, who was attending the show with a group of friends, was hurriedly ushered backstage but didn't have enough time to put the costume and had to sing from the side of the stage, while Bayley stayed in costume to mime for the next two hours.
This incredible story has been extensively reported on in the British press, of course.
- "Opera saved by a star in the wings as lead singer is taken ill", Benedict Moore-Bridger for the Evening Standard
- "Why the man in a suit took the curtain call in Lucia di Lammermoor", Andrew Pierce for The Telegraph
- "ENO's Lucia Offers Drama Off- and Onstage
Indisposition of two singers does not compromise the sense of sheer, familial madness", Keith Clarke for MusicalAmerica.com
- "Bravo for stand-in opera hero", The Sun
- "Is there a baritone in the house? Opera saved by a star in the audience as lead singer is taken ill", The Daily Mail
- "ENO understudy steps out of shadows", The First Post
Mar 29, 2007
The curse of Ariodante
I mentionned the devastating critics from Le Monde a couple of weeks ago, about the Paris performances (Théâtre des Champs Elysées).
Well, both musicians and singers are playing the Haendel's opera in London (Barbican Centre) and Madrid. At least they're trying. The cast has been decimated by various health problems, as reported here.
I guess they just forgot to mention there the real curse of the opera: unoriginal music, stupid libretto, bad conducting by Christophe Rousset, awful singers.
Who wouldn't want to miss the upcoming performances?Well, both musicians and singers are playing the Haendel's opera in London (Barbican Centre) and Madrid. At least they're trying. The cast has been decimated by various health problems, as reported here.
I guess they just forgot to mention there the real curse of the opera: unoriginal music, stupid libretto, bad conducting by Christophe Rousset, awful singers.
Jan 5, 2007
La fille du régiment, Dessay
Alors que Natalie Dessay s'apprête à commencer les réprésentations londoniennes de cette production de La fille du régiment de Gaetano Donizetti mise en scène par son grand ami Laurent Pelly, elle a annulé toutes celles prévues en février/mars à la Scala (qui vient enfin de mettre à jour son site web), la maison milanaise ayant décidé de ressortir la production de Franco Zeffirelli plutôt que celle de Pelly.
Juan Diego Florez, plus professionnel, est toujours d'actualité à la Scala.
C'est Odile et Janine qui vont être déçues!
Informations complémentaires: Petit synopsis de l'opéra par Kozlika (avec extraits musicaux à la clé).
Extraits YouTube: Duo de l'acte I chanté par Juan Diego Florez et Patricia Ciofi à Genève en 2005; toujours à Genève, l'air "Ah mes amis" chanté par Florez; "Salut à la France" chanté par Annick Massis à Genève en 1998 (son pas terrible); même air par June Anderson à Paris en 1986; reportage sur Florez se préparant pour les représentations de La fille du régiment à Lecce (Italie) en 2003; les coulisses de la tournée de l'opéra de Bologne au Japon en 2006 avec La fille du régiment.
Rajout du 13 janvier: Visiblement, la prestation de Juan Diego Florez vaut le déplacement (Juan Diego Florez donnera un récital le 5 février prochain au Théâtre des Champs Elysées avec la mezzo-soprano Daniela Barcellona). Natalie Dessay on the cast of La Fille du régiment at Covent Garden in the Sunday Times, January 7, 2007 (found here): "It's my first Marie, and here at Covent Garden we have a fantastic cast: Juan Diego Flórez as Tonio, Alessandro Corbelli as Sulpice, Felicity Palmer as the Marquise, Dawn French as the Duchesse!" Laurent Pelly's staging is a three-way London-Vienna-New York co-production. "We will do it in April in Vienna, then next season at the Met in New York," says Dessay. "Always with Flórez. Tonio is an impossible role to cast, and only he can do it at the moment. He's the best. We are a good couple on stage. For this type of repertoire, I always ask if he is free before I sign any contracts."
Nov 19, 2006
La Juive : Oren vs. Viotti
Comparing the 2006 Oren version (Royal Opera House, London) and the 2003 Viotti version (MET, NY).
So I listened yesterday to the first act of La Juive, recorded live from the Barbican Centre in London in September.
I wanted to know where the Feb/March Paris performances at Bastille were headed for, and if I should worry, like most of these guys seem to think.
Guess what?
They’re wrong.
At first, I was surprised of how different the Viotti & Oren orchestrations are.
You can hear it from the very first notes of the opera.
And, as the broadcast went on, I started to realize the Oren version emphasizes lightness, and offers a less dramatic approach than the Viotti version. I said less dramatic, that doesn’t mean Oren is playing the truly dramatic parts with shallowness and derision.
But I’m pretty sure that’s the way Halévy wanted his music to be played; after all these were times (1835) were composers explored dramatic subjects with somehow a joyful perspective (Berlioz excepted), let alone the fact that most productions weren’t dealing with dramatic subjects at all (Offenbach, Auber, Chérubini).
Still excited to go and listen to La Juive in Bastille on March 2007. Still wanting to throw those angry fellows to feed the lions… Audio extract from the MET:
Rachel, quand du Seigneur, Neil Schicoff (track #207) Further selected readings; 2003 Viotti version:
Alex Ross, Ray of Death, extract from The New Yorker, Nov.24 2003, MET Opera News Online, MET Opera Review by the New York Times. 2006 Oren version:
Classical Source review, Musicweb International review, Music OMH review, My cultural life review.
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