August is a month of abundance, but also, at least in the Northern Hemisphere, a time of acknowledging the inevitability of endings, and preparing for the uncertainty of new beginnings. A distinctly Augustian mix occurred within the opera world this year: many premieres, and many conclusions.
The end of June saw an announcement from Tulsa Opera of the cancellation of its two mainstage productions for the 2023-2024 season, and the resignation of its General Director. Earlier this week The Metropolitan Opera Guild announced it will be streamlining operations; its educational initiatives (which include programs allowing roughly 12,000 students to attend dress rehearsals every season) will fall under the auspices of The Met itself. Related publication Opera News, which had been a monthly glossy since 2008 and had a circulation of 43,000 (I was an occasional freelance contributor) will be incorporated into British magazine Opera following its final print edition in November. In related news, Takt1, the Dortmund-based classical streaming portal who operate in cooperation with a number of classical organizations (including the London Symphony Orchestra, the Gewandhausorchester and the Wiener Konzerthaus), announced that as of September 1, 2023, they will be discontinuing their subscription platform.
I have lately been asked for my opinion about this spate of bad news, with many making those requests quite aware of what I’ll say: education; media; resources; will. The long-term solutions related to social policy usually require a resilience which is anathema to the ROI and sexy (if very easy to fake) analytics espoused within digital circles and by their (mysteriously) heralded personalities. There is no guaranteed Land of Oz at the end of the rainbow – that isn’t how opera (or culture, or investment in culture, cultural education, and a broader non-utilitarian approach to learning) works, least of all in a capitalist-led consumer culture where generous government support for either arts or education is nearly non-existent. Opera is also an expensive art form with a (mostly, not entirely) limited appeal; its cost means that long-term investment in the things that make it actually work are unsettling for any organization (public or private) to support, and triply so when that art form is not, as in some locales, embedded within socio-cultural norms and traditions, and sewn into the daily fabric of living, learning, and regular live-experiencing – at cheap prices, in casual wear, outside or in large halls at that.
There has been a lot of bad news, but a lot of inspiring work as well. Rather than contradiction, I do see balance –however tenuous it may be – in the form of bold programming, choices from which I hope some organizations will draw inspiration. Of course there are vast differences between the North American and European classical worlds (it is a topic I have explored more than once) but there are ideas related to education, access, and awareness which cross borders and demand non-nationalistic airtime. In her final column for Takt1, music writer Charlotte Gardner notes that ever-entrenching perceptions of classical (along the lines of: it’s fancy-irrelevant-elitist) are being exacerbated “by classical music getting less and less print space and airtime from our national journalism providers. Essentially, classical music is currently engaged in an almighty fight for “establishment” acceptance (the irony…), and it doesn’t look as though it’s going to be over any time soon.” That goes triple for North America; anyone in the arts who has studied and contemplated the precipitous drops in education and media funding (i.e. me; I work in both) couldn’t have been terribly surprised by the Opera News update. Terrible, yes, and terribly inevitable, given the state of… everything. Thankfully, Gardner pinpoints the needed hope: “(I)f you talk about classical music with love, knowledge, and a clear desire to communicate, and if you offer a variety of formats in which to experience it, you will earn respect and curiosity, and people will give you a go.”
Moon over Salzburg. (Photo: mine; please obtain written permission for reuse.)
And so in that spirit: I will try to continue to communicate my own love of the classical world as best I can at this website, for as long as I am able, and sharing a variety of formats in which to experience it. One thing which is relevant to this, and inseparable from my own love of the art form really, is the role of new (or more precisely, newish) things. The role of new work within the classical ecosystem is paramount; it is a truth, if not quite universally acknowledged, then perhaps on its way to a wider embrace. The first Salzburg Festival presentation of Bohuslav Martinů’s 1957 opera The Greek Passion happened last Sunday (13 August). A new production helmed by Simon Stone featured a host of vocal talent (Sebastian Kohlhepp, Sara Jakubiak, Gábor Bretz) under the baton of Maxime Pascal. Based on the 1954 novel Christ Recrucified by Nikos Kazantzakis, The Greek Passion is, as Opera North described it in their own 2019 production, “a passion play within a passion play” and concerns a group of villagers suddenly faced with taking in a group of refugees – or not. In his review for Merkur Online, critic Markus Thiel described the production as “Eine knapp zweistündige Gratwanderung ist das zwischen realer Brutalität und surrealem Spiel” (“This is a tightrope walk of almost two hours between real brutality and surreal play.”) Medici.tv will broadcast the The Greek Passion from Salzburg this Wednesday (22 August) at 8pm CET / 2pm EST.
The British premiere of György Kurtág’s’s Fin de partie also took place this week in London, with Ryan Wigglesworth conducting a razor-responsive BBC Scottish Symphony Orchestra at Royal Albert Hall, part of this year’s edition of the BBC Proms. The opera, based on Samuel Beckett’s surreal 1957 comically macabre play Endgame, opened in 2018 at Teatro alla Scala, and has been presented in Amsterdam and Paris. As The Guardian‘s Tim Ashley wisely noted in his recent review, “This is not, in essence, the bleak comedy we often find, but a work of pervasive sadness that continues to haunt us after its final notes have died away.” I found myself contemplating that sadness (so much my habit lately) at the opera’s close when the words of Brindley Sherratt came floating to mind; I had interviewed the bass together with tenor John Daszak in autumn 2020, when the pair were in a high-tech production of Boris Godunov in Zurich. Sherratt had said at one point, amidst pandemic bleakness, that “you want to shout, ‘Opera’s not dead!’” Kurtág’s opera is a brilliant and very needed reminder of just that sentiment at this time and place in classical history. BBC Sounds features the Proms performance until 9 October.
A fascinating Q&A with acclaimed psychotherapist Esther Perel at Vanity Fair (published at the end of June) has implications relevant to the classical industry and its current challenges. Perel says that owing to the widespread mainstreaming of the language of psychotherapy and its concomitant divorce from contextualized study and practice, there has occurred a distinct shift from “we” to “me”, a trend only exacerbated by echo chamber-like nature of social media. Added to this, she says, is self-diagnosis and related self-labelling:
[…] On one hand, there is an importance in gaining clarity when you name certain things. On the other hand, there is a danger that you lose all nuance, that you’re basically trying to elevate your personal comments and personal experience by invoking the higher authority of psychobabble. What you call therapy-speak, we used to call psychobabble—it’s a new word for an old concept.
In the past, you could have said, “I think this, and so does the rest of the community.” So does the family, so does the church. Today you say, “I think this, and so does the DSM-5.” I don’t like what you do, so I say you’re gaslighting me. You have a different opinion, and I bring in a term that makes it impossible for you to even enter into a conversation with me. Labeling enables me to not have to deal with you.
But in the end, it creates more and more isolation and fragmentation. That is not necessarily a good thing for the community and for the social good. (Vanity Fair, June 26, 2023)
Fragmentation is something I think many classical programmers are contemplating, along with notions around language and the perceived impenetrability (for Anglophone audiences) of anything that isn’t in English. Interviewer Delia Cai asks the multilingual Perel about working in English. “Every language makes you think differently,” she says, citing the myriad of words and phrases for “friend” in French. Experiencing the nuanced realities within those different languages allows for different understandings – of self, relationships, and community.
Opera has a concentration of Eurocentric languages indeed, but that doesn’t close the possibility of enjoying it in a host of other languages, so long as the will exists, and the funding to match it. Canadian company Against the Grain exercised that will with a very unique vision of Handel’s famous Messiah in 2020, directed by Joel Ivany. Called Messiah/Complex, a project was sung in Arabic, Dene, English, French, Inuktitut, and Southern Tutchone. There is possibility to expand horizons, but the will has to exist before any click-friendly digital strategizing – not the other way around. Perel’s final thought speaks to just this: “Expertise has very little to do with experience sometimes, and a lot to do with marketing. That’s capitalism with therapy-speak combined.” Or in this case, opera-speak. Ay, there’s the rub.
Finally: Renata Scotto never held back her passions – or her intelligence, wit, studiousness, and deep understanding of the art form. The soprano passed away earlier this week at the age of 89.
Her influence as much as her ideas and glorious recordings live on, and it’s been heartening to re-experience her work across so many media– at such moments the internet is a blessing. The above clip, from a 1980 television special (I have foggy memories of watching this as a small child), is a perfect demonstration of what made Scotto so special: the control; the drama; the attention to detail… magic. Since the announcement of her passing there have been outpourings of tributes by colleagues who worked with her as well as those she taught and mentored. Her influence across generations was (is) immense, her passion as palpable off the stage as much as on it. In a 2017 interview with Classic Talk TV the soprano discusses her training and the relationship between composer and libretto, and also shares her suspicions around contemporary opera-business casting practises:
Today they look at the figure – it’s how you look. I don’t like that, because it’s not the looking, it’s what you give me. You communicate with your body to me, and not, ‘You have a beautiful face, you’re tall, you’re slender’ […] This is not the way to begin. (Classic Talk: Renata Scotto Part 1, February 24, 2017)
Vocal talent does have to be extant in the first place, she explains, but once that talent is acknowledged, it must be shaped: “I’m not interested in a big voice, I’m interested in a beautiful sound that gives some special colour.” That notion of vocal colour in the opera world is highly overused but re-listening to so much of Scotto’s work this week was a good reminder of its essence. Scotto’s artistic approach, combined with her sharp-eyed observations, speak firmly to the present, and help give shape to an abundance which can hopefully be part of opera’s future.
A quick reminder: my interview with Bayerische Staatsoper Recordings Managing Director Guido Gärtner is posting soon. For now, here’s to the end of almost-end of August, and to endings, beginnings, and whatever possible abundance might be in store. Opera is not dead – but does require and demand will, a commitment to education, media resources, money (as ever), and many breaths of fresh air. Let’s hope for a cool breeze or two as autumn draws closer.
Lately the idea of rejuvenation intrigues. As I wrote in the introduction to a recent post detailing a newcomer’s thoughts on Bizet’s Carmen and the opera-going experience itself, ideas related to perception, exposure, cynicism, approach, and re-approach have been more active than usual. There is a certain value to seeing something so famous with new eyes (and ears), particularly given the grim realities pandemic continues to present. To make the effort to re-appreciate opera anew is to confront old questions with a new awareness. What is opera – is it only singing? Is it also scoring? Is it theatre? Is it design? Is it sitting in the dark, in silence, with strangers? Is it some alchemical combination of these things? Rediscovery demands return – and not only in a literal sense – and return demands simplicity. To return to an art form one once loved experiencing live is to take off the over-tight bustier and flesh-gouging garters, to peel off eyelashes and unpin hair, to throw dress, fan, and shoes across the room and not worry what anyone thinks; it is to see and feel opera naked, unadorned, free from pretense, bare-faced. There is a freedom in that – for voice, score and theatre, as much as for the curiosity which must fuel them all.
Indeed regular reassessments are needed, for audiences and industry – to search for and find the freedom such curiosity might grant; to embrace the responsibility which is inherent to that (and all) freedom; to constantly bring the clarity such freedom grants to an art form which can (does) often fall into the traps of obfuscation, disorder, decay, and intransigence. Thus is the work of some artists who work with and around houses all the more important; often their work is what opens the door – to freedom, return, simplicity. They aren’t so much working on the peripheries as within the very essence, keeping that sense of curiosity ever alive. I have admired the work of Monika Rittershaus for many years; her stage photography graces many a program book and web page. She has shot productions for Los Angeles Opera, Staatsoper Hamburg, Bayerische Staatsoper, Komische Oper Berlin, Staatsoper Unter den Linden (Berlin), Festival d’Aix-en-Provence, Teatro Real Madrid, and Opernhaus Zürich, to name just a few. Her work is a quietly powerful integration of dramaturgical and humanistic, revealing opera as an art form comprised of sounds, sights, and souls. Born in Wuppertal, the busy stage photographer first studied philosophy, German language and literature, and art history. Finding inspiration in the works of choreographer Pina Bausch, she went on to study photography in Dortmund, which led to commissions in Vienna, Basel, Bregenz, Hamburg and Stuttgart. Rittershaus has been a freelance theatre and concert photographer since 1992.
The scene and the unseen: Oper in Bildern – Fotografien von Monika Rittershaus (arnoldsche) is a new book filled with imagery shot between a variety of locales between 2006 and 2022. The work, edited by Iris Maria vom Hof, demonstrates a breadth of modern directorial vision, with shots of the stagings of Christof Loy, Claus Guth, Christoph Marthaler, Patrice Chéreau, Hans Neuenfels, Calixto Bieito, Silvia Costa, Romeo Castellucci, Andreas Homoki, Nadja Loschky, Mariame Clément, Dmitri Tcherniakov, Kirill Serebrennikov, and Tobias Kratzer, among many more. Stagings by Achim Freyer, whom Rittershaus names in our exchange (below) and Barrie Kosky, who writes an introduction, are also featured. The many hours spent pouring through the book’s thick pages bring memories and a feeling that perhaps operatic rejuvenation is not as far as one may think; I’ve seen some of the productions featured in this book, and these photos don’t make me nostalgic so much as clear-eyed. Kosky writes that Rittershaus “seems to sense the inner world of a moment and to know at exactly the right moment when to click her camera. There is an extraordinary intuition at work here. Perceptive, refined, and sophisticated.[…] She doesn’t document the moment. She x-rays the moment.”
How much of a prior working relationship do you have (or require) with a director in order to photograph their production?
There is an initial collaboration with each directing team. Before I go to the rehearsal, I read or listen to the piece to be photographed. For world premieres, I ask for any materials that are already accessible. I watch the first rehearsals without a camera to understand, as much as possible, how a production is ‘built’ and what the specific concern of the team might be with this work. If I can work with a team more often, understanding becomes greater and mutual trust stronger. So an intensive working relationship is very nice for me in any case, even if it doesn’t basically result in a shorthand language, because I engage with each production anew. Barrie Kosky in particular is constantly inventing new languages for his productions. With him, there is a kind of intuitive and playful agreement for me.
How easy (or challenging) is it to integrate your own artistry with that which is being presented visually and sonically?
When I photograph a production, I try to translate the artistic template into my images as sensitively and accurately as possible. If successful, it does not remain an objective image. My desire is to show the sensitive structure on stage, in its complexity, to capture a moment that, in the best moments, flashes something that escapes the eye. What I mean by “sensitive structure” is this: in an opera performance, very many processes and aspects intertwine and depend on each other. Singers, conductor, orchestra, stage, stage management, props, lighting, costumes, transformations… everything should ‘breathe’ with each other; then a special magic is created, which is very sensitive, and fleeting, because it is in constant movement.
Eric Cutler as Peter Grimes in a scene from Theater an der Wien’s staging of Britten’s opera, by director Christoph Loy, 2021. Photo: Monika Rittershaus
What is the role of the voice in your work? Is there one?
The voice in the literal sense, does not really play a role in my work. I listen very carefully to every voice on stage and am touched by what singing people can tell through their voices. However, I tend not to try to show the physical act of singing.
How has your idea of visual expression changed through all the operas you have photographed?
There are productions that reach me particularly deeply and teams that expand my perspective and visual approach through their work – this doesn’t necessarily have to do with a specific work, although there have been incisive experiences in this regard as well.
I began my path in opera with Achim Freyer. He is a strongly image-based artist from whom I have learned a great deal and may still learn. He has been very supportive of my particular preference for compositions of people in space and the amplification of content that comes with it.
Bo Skovhus (L), Vera-Lotte Boecker (R). A scene from Bayerische Staatsoper’s Bluthaus, by Georg Friedrich Haas, staging by Claus Guth; 2022. Photo: Monika Rittershaus
Which productions have been noteworthy for you?
A work by Romeo Castellucci this year at the festival in Aix en Provence, Résurrection by Gustav Mahler, particularly struck me and once again stimulated me to think anew about what photography in the theatre is, and can be, for me. Described in very brief terms, Romeo Castellucci had an artificial mass grave dug at the Stadium de Vitrolles to Gustav Mahler’s Second Symphony. For me, this ‘theatrical installation’ was of incredible power and utmost relevance in our time. My question was: how can I bear to see this process and how can I translate it pictorially? It was extremely important for me to exchange ideas about this with Romeo Castellucci and his dramaturg Piersandra Di Matteo, and to look for a way to photograph.
The work on Bluthaus at the Bavarian State Opera with Claus Guth and his team, and the conversations with the wonderful leading actress Vera-Lotte Böcker, were significant for me also, because the crass subject matter of the piece was illuminated very sensitively, in all its facets. It is very nice to experience that a singer feels at ease in the awareness of my view of her during intensive rehearsals.
(ed. – The opera, by Georg Friedrich Haas, details the trauma of sexual abuse within one family; it was staged as part of Bayerische Staatsoper’s inaugural “Ja, Mai” festival in May 2022.)
And: I would like to emphasize the continuous work at the Salzburg Festival – this year with three of “my” most important directors, Christof Loy (who staged Puccini’s Il Trittico), Barrie Kosky (Janáček’s Katja Kabanova) and Romeo Castellucci (a double-bill of Bluebeard’s Castle by Bela Bartók and De temporum fine comoedia (Play on the End of Time) by Carl Orff) – and three very strong singers: Asmik Grigorian (Trittico), Corinne Winters (Kabanova) and Ausrine Stundyte (Bluebeard/De Temporum).
Right now I’m having a very intense time with the Ring des Nibelungen with Dmitri Tcherniakov in Berlin. The four large pieces, in a very short time, were extremely challenging for all involved. Almost at the same time I photographed Die Walküre in Zürich, directed by Andreas Homoki. Photographing the same work in two completely different interpretations was a great pleasure for me.
Christopher Maltman (c) as Oedipe in a scene from the Salzburg Festival staging of Enescu opera, by director Achim Freyer, 2019. Photo: Monika Rittershaus, part of The scene and the unseen (arnoldsche).
How did you choose the images in the book?
The scene and the unseen shows a selection of my favourite images of the productions most important to me. The sequence is purely pictorial, with the directors’ productions following one another because they are related in content and aesthetics. My desire was to celebrate the art form of opera.
As a stage photographer, my job is to translate the fleeting and complex three-dimensionality of a performance into a two-dimensional image. A photograph has its own time. It is through the calculated use of blur or blurring, or the unusual focus on minute details or peripheral events that I try to capture the mystery of a production.
To what extent do you think the public’s understanding of a production (or opera as an art form overall) has been expanded because of your work?
Whether the understanding of the public changes through my work, I cannot estimate – that would be presumptuous. I wish, of course, that I can bring to the spectators and viewers of my pictures the special qualities of opera performances, but whether this succeeds, I can not judge – only the others can do that.
Andreas Schager as Siegfried in a scene from Staatsoper Unter den Linden staging of Der Ring des Nibelungen: Götterdämmerung, by director Dmitri Tcherniakov; 2022. Photo: Monika Rittershaus
Top photo: Markus Brück as Macbeth in a scene from Opernhaus Zurich’s staging of Verdi’s opera, by director Barrie Kosky, 2016. Photo: Monika Rittershaus, part of The scene and the unseen (arnoldsche, 2022).
Memories of past cultural experiences have become sharper over the course of the lockdown necessitated by the coronavirus pandemic. I’ve been taking stock of those experiences through the past five months or so, recalling, with a mix of delight, sadness, and wistfulness, some of the most magical moments. In light of the activities being reported at this year’s Salzburg Festival (a reduced if arguably more potent version began August 1st and runs to the end of the month), I recalled my own experience at the starry fest in 2016, where, among other events, I attended a presentation of Faust featuring tenor Piotr Beczala in the title role. Having experienced the opera numerous times live and via recordings, I was struck at the Polish singer’s responsiveness to both the music and to his co-stars, notably bass Ildar Abdrazakov’s menacing Mephistopheles; it was as if Beczala had stepped into the score himself, and was carefully, keenly analyzing every small detail, altering his pitch and tone, the shape of his vowels and consonants, his breaths and pauses and even sighs, around Gounod’s score and the Wiener Philharmoniker’s performance of it under maestro Alejo Pérez.
This musical sensitivity and attention to detail, and to drama, have expressed themselves throughout Beczala’s illustrious career, which has included turns in the well-known and well-loved (Bizet’s Carmen; Mozart’s Die Zauberflöte; Puccini’s La bohéme), French opera (Faust; Werther; Romeo), dramatic (Maurizio in Cilea’s Adriana Lecouvreur; Vaudémont in Iolanta; Lensky in Eugene Onegin; Der Prinz in Rusalka), as well as purposeful dips into both bel canto (Bellini’s La Sonnambula; Donizetti’s Lucia di Lammermoor) and verismo (Tosca‘s Cavaradossi, des Grieux in Manon), generous helpings of Verdi (Un ballo in maschera, Luisa Miller, La traviata, Rigoletto), a taste of Wagner (Lohengrin), and delightful dashes of operetta (Die fledermaus, Das Land des Lächelns). Beczala has performed in all the major international houses, including the Metropolitan Opera, La Scala, the Royal Opera, Bayerische Staatsoper, Wiener Staatsoper, and Opéra national de Paris, to name a few. In 2014 he won the prestigious ECHO Klassik Award for Singer of the Year; in 2015, an Opera News Award; in 2019, was awarded Austria’s Kammersänger title during a run of Tosca in Vienna. In addition to French, Italian, German, and Russian repertoire, Beczala has also performed in his native Polish; he sang the pivotal role of Jontek in Stanislaw Moniuszko’s 1847 opera Halka, first at the Wiener Staatsoper late last year, and subsequently in his native Poland (at the Polish National Opera in Warsaw in February) in a production by Mariusz Trelinski. As Opera News writer Henry Stewart noted of Beczala’s performance of the aria “Straszny Dwór” (The Haunted Manor, again by Moniuszko) on his 2010 albumSlavic Opera Arias (Orfeo), “(i)n eight minutes, Beczala makes a case not only for rescuing this epic aria, or even the whole opera, but for paying more attention to Polish music in general.” Beczala just did this on his recent album of songs by Mieczyslaw Karlowicz and Stanislaw Moniuszko with pianist Helmut Deutsch, Pieśni (Narodowy Instytut Fryderyka Chopina) a beautiful collection of 26 short pieces recorded in Warsaw in 2018.
Photo: Johannes Ifkovits
Such wide variety feels natural for someone who has taken a slow, steady, and altogether smart approach to repertoire expansion. As he told Presto Classical’s Katherine Cooper earlier this year, “(m)y earlier career was much more about Mozart than Donizetti, Bellini or Rossini, but this kind of balance between bel canto singing and developing into the dramatic repertoire is so crucial. You have to guard against any signs of stress or loss of flexibility in your voice, because Wagner and verismo in particular can be very dangerous if you start singing too much of it too soon.” This deliberate pacing has paid off handsomely, and the time is nigh for a project showcasing such artistic intelligence. Vincerò! (Pentatone), released in May, features Beczala performing with conductor Marco Boemi and the Orquestra de la Comunitat Valencia. Called “a winner of an album” by Gramophone at its release. Beczala’s vocal flexibility, silvery tones, exquisite dramatic timing, and textured line readings on full display through lush arias taken from his current repertoire (Tosca, Gianni Schicchi, Adriana Lecouvreur) and likely future one(s); there are tasty verismo sounds (Mascagni, Leoncavallo) and a lot of Puccini, including the aforementioned Cavaradossi and Rinuccio respectively, here luminously joined by “Orgia, Chimera Dall’occhio Vitreo“ from the composer’s first opera, Edgar, along with selections from Manon Lescaut, Madama Butterfly, La fanciulla del West. The album closes with (as the title references) the famous aria “Nessun Dorma” from Turandot. Throughout the selections, Beczala never resorts to crooning, blasting, or forced dramatics; he truly sings the music in a way that elucidates the meaning of the text without losing the poetry of the sound in either linguistic or sonic senses. This is a singer who listens to every single thing going on around him, and here he’s beautifully supported – complemented – by Boemi and orchestra. Beczala’s reading of the famous tenor aria from Turandot, for instance, highlights his smart musical instincts; it’s passion and precision come together in a knowing show of tonal texture and control. In a word: marvelous.
Indeed, as much as Vincerò! is a riveting display of Beczala’s meticulous musical approach and watchful brand of vocalism, it is also, as I noted, something of a preview of future roles: Calaf, for instance, is on Beczala’s future performance schedule. The tenor and I spoke back in July, just prior to his appearance at the opening night of the Budapesti Nyári Fesztivál on Margaret Island (Margitsziget)’s outdoor stage. So much was still uncertain in the music world, and little has changed since then, but what with the Salzburg Festival presentation this year (albeit in altered form) and the resumption of concerts across much of continental Europe, with all the requisite safety measures in place, it’s safe to say there is some form of cultural-musical life trickling into being after a long and sometimes painful absence. Beczala performed in Salzburg recently, in a presentation of Mahler’s Das Lied von Erde with mezzo-soprano Tanja Ariane Baumgartner and the ORF Radio Symphonieorchester Wien under the baton of Kent Nagano; the presentation will be broadcast on radio station Ö1 on August 20th at 7.30pm CET. That very evening (August 20th) sees Beczala perform live at the Grafenegg Festival, in a concert featuring the music of Mascagni, Giordano, Leoncavallo, and Puccini, together with the Tonkunstler Orchestra under the direction of conductor Sascha Goetzel; that particular appearance will be broadcast on Austrian television on August 30th. This month has, it turns out, been a happily busy one for the tenor (he began August performing at both the opening and closing evenings of a special edition of the Lech Classic Festival in Austria, before going on to Salzburg), and the autumn may well prove just as busy: in September Beczala will be giving two concerts from Spain with soprano Sondra Radvanovsky and will also be giving a gala concert from the Wiener Konzerthaus, and October sees him performing in Warsaw, as the title role in Werther.
So, despite audiences being denied the opportunity to experience his Radamès (in Aida) this year at either the Festival de Peralada in Spain or at The Met respectively, there is plenty to look forward to, and for now, Beczala, together with wife Kasia, are riding out the uncertainties of the coronavirus pandemic as positively as possible: by baking, studying, and, rather happily as it turns out, singing for live audiences.
Your baking posts on instagram remind me of things my own relatives make. It’s interesting how many artists in the opera world enjoy being in the kitchen.
Well, we spend so much time between performances doing nothing. You can study and practise all the time but you have to do something normal – you can play golf or sports but it’s really a good thing to spend some hours cooking, baking, trying recipes. We also do it sometimes with friends, singer friends –cooking is a good way to spend time together.
There’s also the aspect of what you make you can’t actually see and touch, whereas when you work with food it’s a directly sensual experience.
That’s absolutely right – I remember when I did Magic Flute performances, and I was always jealous of Papageno getting the chicken in the last act. The whole house smelled like barbequed chicken, and who got it? The baritone, of course.
Yes, but you tenors get to sing things like “Nessun Dorma”…
Exactly – I’m okay with that!
Throughout this pandemic time it seems like many classical artists have learned things tangible and not, things they’re bringing back to live performance as some kind of normal returns in Europe. Is this your experience too?
We still, unfortunately, are nowhere near normal at the moment – some opera houses and concert halls are starting to go back but it really doesn’t look fine for me. Singing… I have no problem to sing for ten people, but for empty or almost-empty concert halls and houses, it’s a really difficult thing. And… well, we have to survive this time. I spoke with so many colleagues of mine, and really, we have to just stay calm, not go crazy. In my case, I was two months having vacations, and we stayed here in Poland for a couple of weeks, and I was already working last week in Vienna doing a TV project, and I’m going to Zurich. You know, some concerts that were cancelled are now back on schedule, but it’s still far away from normality. And that’s my problem, we don’t know what will happen in the fall, we don’t know… I know actually I will go do an opera in November, but until then there will may be concerts and performances but … the situation is very dynamic. It changes every day and every week.
Photo: Julia Wesely
That’s hard to adjust to especially when you have things lined up for years in advance.
My schedule is full until 2024-2025, and this is now only … It’s fantastic to have wonderful productions in your schedule, but there’s the old wisdom, and it always rings true, that your schedule is right when you’ve actually done all the performances, not when you put it on the paper. Now I see this situation, and well, who knows what will happen? Everybody asks me, but I’m a singer! I am really extremely happy that summer concerts are back along with a few activities, but it’s really very far from normal.
Part of your own “normal” is performing operetta; I spoke to Barrie Kosky years ago about staging it, and I’m curious as a singer what operetta brings you creatively.
When I started 28 years ago I’d already sung operetta, in the house in Linz and later in Zurich and Vienna. Operetta was always present in the program – not many, but the big hits like Merry Widow and Fledermaus and I always enjoyed it a lot. I love all these tenors of the past, from the 1950s-60s-70s or before, and operetta was really a big part of their repertoire – Fritz Wunderlich and Nikolai Gedda and many very fantastic tenors. It’s just part of my repertoire. I did a concert with Thielemann on New Year’s Eve in Dresden and I recorded a tribute to Tauber for Deutsche Grammophon (in 2013) – you know, it’s always a good thing for a tenor to have this part of his repertoire in the voice, because it’s a very good combination of some nice vocal lines, some elegance in singing, some distance to yourself, because operetta you can’t take really seriously. It’s serious music, but you have to blink a little with one eye when you do this music.
It does require a lot of vocal flexibility…
That’s what I mean, it’s not one style. You sing Puccini or Verdi or Wagner, it’s something very stable, everything moving in one direction; operetta is more of a pretty, nice, younger sister of opera. Of course there are exceptions, like The Land of Smiles (Das Land des Lächelns), which I did in Zurich a couple years ago; it’s really a tragic story like opera, but basically it’s about love, not going very deep into the sensibility of the people on the stage. It’s entertainment but entertainment on a very high level, and on a high level vocally as well.
So you can do operetta and verismo and Lohengrin – that flexibility feels rather rare in this age of the specialist, don’t you think?
It’s a good question. Really, I’m doing this because I like it; I know exactly the differences between verismo, Verdi, French opera, Wagner, and operetta – the funny thing is, operetta is not very far from Wagner…
Really!
Of course! But these aren’t my words Thielemann convinced me to sing Lohengrin, and he said that after a couple of concerts we did in Dresden, he said, well, I have to think about Lohengrin as really not being very far from Lehár’s The Land of Smiles – of course the language is the same. More or less, it’s the same time of composition, the end of the 19th century, and well… when you take both seriously, you can say, it’s not very far away, but all these styles are pretty different. I also sing Slavic music, and it’s also a part of my repertoire, but it depends very much on the language. Last year I did Halka in Vienna.
I have friends who saw you in that – it’s quite special to stage a Polish opera.
Yes, it was a rare opportunity to sing in my own language, and in an opera at that, because my operatic language is French or Italian or German. It’s a good combination, but the key is to see the differences and to try and not sing everything in the same way. It’s like cooking: when you do everything in the same way, everything tastes the same. You can’t recognize whether it’s meat or fish or dessert.
I saw you live in Salzburg in Faust and noted how careful your sensitivity was to not only the words but the way they relate to the score– and that sensitivity was just as palpable in your album with Helmut Deutsch of Polish songs.
Recording that album was a fantastic experience – Helmut and I have a lot of plans for the future. It’s a very funny story. We met through my former vocal coach, in-person in Vienna, and then I got the idea to ask him for some concerts. It was such a positive development. Helmut of course is one of the best interpreters of Schumann and Schubert – the big German repertoire – but in his soul and his heart, he is very Slavic. When we started work on the Karlowicz/Moniuszko album, he loved it. For me it was so important to have so many good people around me, people who I can work with, even for something that is not very popular. Nobody did Karlowicz songs before – well, maybe there was something in Poland, but in the international arena, it’s’ not really normal – but now everybody knows. I’m really happy about that.
I only got to know Halka when you were in it – increasing awareness of composers who aren’t part of the mainstream opera rep seems more important than ever.
That was the idea, to bring Halka to the international opera world. In Vienna the Theatre an Der Wien is a very important house, and it was a perfect place for staging Halka. Of course it’s hard to present the world with a new opera, an unknown opera – but with this work, the music is so beautiful, and it was a nice production. It’s good people realize there’s something like this in Poland and they say, “Okay, we welcome Halka into the world” – that was the idea. And now, I’ll be happy and extremely satisfied when it becomes part of the normal repertoire in some houses; that would be a dream.
Like at the Met?
Maybe, yes, of course! I know the difficulty to produce projects like that. I spoke with Peter Gelb about it – he has to sell tickets, that’s the thing. We get sold out in Theatre An Der Wien, but five performances there equals one performance at The Met. This is the big problem. There’s a risk also for many titles that aren’t popular, but the risk could be good in the case of Halka. Let’s see.
So it’s a chicken-or-egg sort of situation…
Yes, it is. We did it once in Vienna, and again in Warsaw, and it was twice on Austrian TV, and it’s being released now on DVD. In a couple months, someone interested can say, “Okay, time for something new!” and listen to this and watch it, and then there’s some impulse to make things happen.
(via Pentatone)
Speaking of impulse to make things happen, your Vincero! album seems to have that quality; I kept wondering as I listened when the world might hear your Calaf.
It was the idea behind this album, to show all these arias, the most popular being “Nessun Dorma”. When I prepared myself and all this repertoire for the recording, I discovered a lot of fine music moments, different colors, and realized there are many sensitive and beautifully soft moments in Turandot. Of course the tenor has to sing with a sound of verismo, it’s like oil painting: when you are making it, you don’t have to take a big brush and do the big strokes, you need the possibility to make many small details – and this way to sing verismo is very important. I’d sung only two or three of those roles (on the album) on stage – Cavaradossi and Lecouvreur and Rinuccio, and that was twenty-five years ago – but the rest is for me questions for the future. And you mention Calaf… yes, I will do it. Most of these roles are in my plans for the future.
I kept hearing Parsifal also.
Thank you very much…. yes, Parsifal is in the schedule too! It’s a very special role; it’s not high, it’s not long, it’s not a lot to sing, but it’s very deep in terms of the meaning. The difficulty is, going through five hours of music, maybe (the opera) should be called Gurnemanz! I think in the next seven or eight years I will develop in the Italian repertoire, as well as Wagner. I really like singing Lohengrin, and Parsifal is the next logical step, and then maybe Meistersinger. I’m curious about what happens with repeating a role in different productions.
For example, Faust, for me it’s such an interesting story, with such a rich background and emotional world. I like to repeat every year or every two years a new production with this music, just to see how my voice is changing, which parts of the character I can discover again. I never get bored singing. Someone asked me a couple years ago about Rigoletto. If I’m not tired of singing it – I had sung maybe 100 performances in my life – I said, well, compared to all my wonderful colleagues like Leo Nucci or Anna Moffo, it’s nothing; Leo sang Rigoletto over 500, and it’s still fresh and not boring, Anna Moffo sang something like 800 Traviatas in her life. To keep the freshness also, not only vocally but in your head, your attitude and sense of discovery with the role, is very important in the business.
To keep it interesting for yourself as an artist?
Absolutely. You can’t be famous for fifty roles – you can’t go in history for fifty roles. You can go into history for at least maybe five or six roles; that’s the brutal truth. What I like is to discover, again and again, the same subject and to change it for different audiences – in America, Vienna, Barcelona, Paris, because this kind of working with people, with the public, is also a big part of discovering and searching for new impulses in the music
… which is precisely what you’re missing now, that interaction with a live public.
That’s so true! That’s been the most difficult part of this lockdown. We are in contact a little bit, but nothing can replace real contact with the public; that’s something absolutely special.
Your real contact will come with opening the Budapesti Nyári Fesztivál soon…
Yes, this open-air concert that had been cancelled got brought back. It’s fantastic because it’s presented as open-air on Margaret Island. I was in Budapest a couple of times but never there in that spot, but I know the the people well, the orchestra and the soprano (Andrea Rost) I’ll be singing with.
How challenging will it be to return to a live audience?
It’s like driving a bicycle: you never really forget it. When I did my last day’s recording in Vienna there was no public there of course, but there were a lot of people around, the producers and others. There are always people around in this industry, and you have to find somebody, focus on them, and sing for that one person. In the worst case, my wife is sitting twenty meters away, and I can sing to her!
You two seem like a very strong team.
We are a team, and for many years we’ve travelled together, studied together, and she knows my voice better than anyone. She is at most of my performances. Us singers need ears which are outside – we can’t really hear ourselves, and it’s so important when you have a person you can trust, to get some feedback. That’s really, really important.
As a benefit, she gets to eat your lovely cakes.
She gets the ideas for the cakes; I make them; she decorates them, and then we invite people and they have to eat it. That’s the plan, always. It’s a good arrangement. My proportions for the cake are always big, and since we are only two we can’t eat it all, so we always invite people. Normally we’d take it to the house for colleagues. It’s always a good collaboration.
That nicely underlines the significance community has gained throughout the lockdown.
Yes, precisely, we are close in our space and apartments, it’s like discovering a whole new situation. I was rather happy here in Poland when nothing happened and we couldn’t travel… actually it was a good thing. I hadn’t taken a vacation in fifteen or twenty years. When people say “I’m taking a vacation” in our industry, it’s usually only two weeks – not studying, not practising, switching off all your activities, and focusing on doing nothing. That’s what we tried to do here. But moving on, I mean, in Salzburg 50% of the programme will happen, including my concert. For a long time we didn’t know what would happen, but it was very good news when I learned it will. It’s a very important year with the anniversary, and it would be a pity to cancel it. I’ve been singing there since 1997, it’s a long-time collaboration, and I was happy to have the possibility to sing there during the anniversary year. People have struggled with the situation but we hope people will be fine. We have to just react to the situation and adjust with whatever happens.
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What do you do when all the energy you’ve put into careful planning over many years is suddenly threatened? Barrie Kosky decided to wipe the board clean and start again. The new autumn programme at Komische Oper Berlin (KOB) as a result of the coronavirus pandemic means, for the busy Intendant, a tangle of what he calls “scheduling nightmares” but also opens the door to new possibilities, for artists and audiences alike. It’s a purposeful step into the unknown, something the self-described “gay, Jewish kangaroo” is well used to doing after three-plus decades of working in theatre.
As head of the Komische Oper Berlin since 2012, Kosky (who has been called “Europe’s hottest director“) has made it a mission to regularly stage early 20th century operettas, Baroque opera, musicals, Mozart, and 20th century works. The pervasive idea of opera being an art form designated entirely for certain classes is one that niggles Kosky; he told The Telegraph in 2019 that “it fits a cultural agenda to say it’s elitist, but it is bullshit.” The idea that a work of art is challenging, entertaining, and enlightening at once is, in Kosky’s world, good, and entirely normal; just how much the bulbs for any or all of the elements in this trinity are dimmed or brightened depends, of course, on the material, but just as equally, the context. Berlin’s history, and indeed, that of Germany, have been constant sources of inspiration and exploration, and have often provided a meaty subtext to Kosky’s stagings, notably in his 2017 Fiddler on the Roof, here called Anatevka, with its unmissable, and purposefully uncomfortable, recalling both distant and recent pasts. His 2015 staging of Schoenberg’s Moses und Aron featured imagery which disturbingly recalled the Holocaust. This bold combination of vision, politics, and thoughtful imagination (and in many cases, reimagination) is what has largely fuelled the incredible success KOB has enjoyed over the course of Kosky’s tenure, which is set to end in 2022. Before then, the company’s re-envisioned autumn program is a concentrated symbol of all Kosky has, and hopes to still, accomplish, both within and outside of Berlin proper. The new slate of programming is ambitious: there will be minimalist stagings of Schoenberg’s Pierrot Lunaire, Offenbach’s opéra bouffe The Countess of Gerolstein, Gluck’s Iphigenie auf Tauris, Schumann’s Mondnacht, and the operetta Die Blume von Hawaii by Paul Abraham; concert performances of works by Schubert (the song cycle Winterreise will be performed by ensemble baritone Günter Papendell) and Kurt Weill (with singer/actor Katherine Mehrling); a three-concert series devoted to the works of Igor Stravinsky (led by Music Director Ainārs Rubiķis); a series of salon talks combining science, creativity, and social issues; dance presentations (including choreographer Emanuel Gat’s SUNNY by Staatsballett Berlin); and a video project by Gob Squad (a British-German collective specializing in video/performance collaborations) which will use Berlin as a backdrop tot explore perceptions around the comfortably familiar.
That sense of comfort is not, as a concept, something Kosky has ever spent time or energy presenting or encouraging. In a conversation with James Clutton (Opera Holland Park’s Director of Opera) earlier this year, he compared the overall position of KOB to Berlin’s other two opera houses, noting that “Deutsche Oper is Moby Dick, Staatsoper (Unter den Linden) is Jaws, and… we’re Flipper.” It’s Kosky’s smart, sassy, singular way of illustrating the vivid approach of the house and its sparky Intendant to the material they program and the artists (both ensemble and guests) they engage. The longtime director’s style – if he could be said to have one – busily combines color, movement, and drama in a vivid theatrical aesthetic, colorfully aided by the work of longtime collaborators, including choreographer Otto Pichler, set designer Rufus Didwiszus, costume designer Klaus Bruns, set and lighting designer Klaus Grünberg, and designer Katrin Lea Tag. Embracing strong imagery and dramatically rich theatricality, Kosky is unafraid of upsetting the apple cart of operatic expectation; in fact, it’s something of a specialty of his, to purposefully turn it over, kick the wheels, collect the apples, and go off to make something considered delicious by some and unpalatable by others. Not everything he does is easily digestible, but then, it isn’t supposed to be; Kosky’s oeuvre as an artist is to question perceptions and long-held beliefs, which sounds simple enough but is no small thing in an industry constantly pressured to hew to so-called “safe” programming and presentation. While expanding the possibilities of live presentational experience, great attention is given to small details within a larger overall narrative framework. His 2017 production of Die Meistersinger von Nürnberg, for instance, contextualized the very place in which it was presented – Bayreuth – in order to question notions of identity and creativity; utilizing puppetry and a backdrop of the Nürnberg trials, Kosky put the opera’s composer on trial. As Martin Kettle noted in The Guardian “(a)t the heart of this Meistersinger is an imaginative, subtle and serious staging of a simple question: how far does Wagner’s antisemitism invalidate his artistic achievement? In the end, Kosky proves to be a fair judge of a question that is still necessarily debated.”
Creative probing into the nature of creation, ideas of artistry, and the role(s) of context within all of them reveal pursuits at once serious (Schoenberg’s unfinished 1932 opera Moses und Aron) and gloriously silly (Oscar Straus’ frothy 1923 operetta Die Perlen von Cleopatra), with a particular penchant for combining surreal dreamscape visions with unapologetic disruptions to socio-religious (and operatic) norms. His 2016 production of The Nose by Dmitri Shostakovich for the Royal Opera Covent Garden famously featured a line of tap-dancing title characters, while the 2015 staging of Prokofiev’s The Fiery Angel for Bayerische Staatsoper revealed (nay, revelled in) an even more surreal, grotesque world where the personal and political intersect. The production, which was to have been presented at the Metropolitan Opera this December (cancelled because of COVID19), features a sparring, obsessive couple, and delves into the subconscious of each to reveal a parade of decadent, deprived fantasies that strip away the eroto-goth, pseudo-romance of Valery Bryusov’s breathless 1907 novel. Fierce, ferocious, and at times suitably unfathomable, the memorable production was not only notable for its comically nightmarish vignettes (one of which featured a very sarcastically-presented penis being roasted and consumed) but for the genuine interest Kosky took in the depiction of the opera’s female character, Renata, an interest which applies more broadly to the many pivotal female characters within the works he’s helmed. Paul Abraham’s 1932 operetta Ball im Savoy, staged at KOB in 2013, featured the inimitable Dagmar Manzel (a company mainstay) as Madeleine de Faublas, who clings desperately to an elegant dignity while trying to keep her marriage afloat; Jacques Offenbach’s opéra bouffe Die schöne Helena (known more for its French title La belle Hélène, and staged at KOB in 2014) offered a fascinating depiction of its title character, one touching on vampy, vapid, scary, silly, and girlish. Monteverdi’s Die Krönung der Poppea (in its original Italian, L’incoronazione di Poppea, with the Komische using a richly reimagined score by composer Elena Kats-Chernin) portrayed the title character’s ruthless and naked (sometimes literally) ambitions with zealous, bloody clarity. Franz Schreker’s 1918 work Die Gezeichneten (staged in 2018 at Oper Zürich) Kosky presented Carlotta through the disturbed, damaged perceptions of the male character obsessed with her, creating a twisted parable that hinged, like much of his work (notably his Pelleas et Melisande staging in 2017), around the dialectics of male desire, female identity, power, subservience, and beauty.
Nowhere, perhaps, were these angular explorations made more clear than in Kosky’s highly divisive staging of Carmen, first presented at Oper Frankfurt and subsequently at the Royal Opera in 2018. Kosky purposely stripped away the opera’s historical visual cliches (farewell fans and flamenco!) while mocking the audience’s expectations of them. Instead of the cliched-sexy, wide-eyed, wink-wink-nudge-nudge choreography so often (almost constantly) deployed as a central part of the character – as embodied in the famous habanera – Kosky’s Carmen was a kind of toreador herself, and during the aria itself she wasn’t swaying hips but peeling off a gorilla costume – gimmicky perhaps, but a deliberate nod at Marlene Dietrich’s similar revelation in Blonde Venus, with its balance of power, desire, and subversion of expectation, and a smirking (if highly confrontational) shove at long-held, seemingly immobile notions of what constitutes “sexy” in female operatic depiction. The moment – indeed the entire production – underlined Kosky’s love-it-or-leave-it approach. 2021 will see the Australian director helm a highly-anticipated new production of Der Rosenkavalier for Bayerische Staatsoper together with his regular team, and conductor Vladimir Jurowski, with whom he has previously worked several times, including, most recently, at Komische Oper Berlin last autumn, for a visceral staging of Henze’s 1965 work The Bassarids. There is no small amount of anticipation for next year’s Rosenkavalier; it follows Otto Schenk’s widely-adored, Rococo-style production, first presented at the house in 1972. The production will also mark Jurowski’s first staging at the house since being named the company’s General Music Director Designate (formally starting in autumn 2021); soprano Marlis Petersen is set to sing the role of the Marschallin. The production is set to open in mid-March of 2021.
Before that, however, is the re-envisioned autumn season in Berlin, a brave step into what is a largely unknown world still grappling with the effects of pandemic; how much audiences will respond is anyone’s guess, though the combination of a faithful live audience, and a growing digital one (thanks to a partnership with Opera Vision) means the company will continue to grow its presence in both local and global respects. When we spoke recently, Kosky had just returned to Berlin from finalizing lighting plans for a future production at Festival d’Aix-en-Provence. (“Who would say ‘no’ to a week in the South of France?” Well, especially right now… “Hello!”) This was my second conversation with Kosky, the first having been in early 2018 when we chatted about the central role of operetta in his programming. Funny, warm, blunt, and chatty, Kosky is a lively conversationalist with none of the I’m-A-Famous-Artiste characteristics that might trail from a figure of his stature. Authenticity is a theme which has emerged through the many conversations I’ve been privileged to share with various classical figures, and I can think of no better figure to embody such a quality than Kosky; he is real, earthy, wholly himself, wholly authentic, with a like-it-or-lump-it boldness that will either engage or repel. It’s not difficult to figure out which camp many opera fans sit in, myself included. Here the director shares his thoughts on the whys and wherefores of changing programming, what the pandemic hath wrought in terms of acceptance and humility, the logistics of funding, upcoming projects (including Rosenkavalier in Munich), and just how his dedication on an April episode of Hope@Home came to be.
Photo: Jan Windszus Photography
Why did you redo the schedule from September through to the end of the year?
We decided we just couldn’t mess around. Some of my colleagues are all hoping by October we’ll all be back to normal, but I think they’re living in la-la land – it’s impossible. We have a luxurious thing you don’t have in North America or Britain: the subsidized ensemble system. It enables us to be able to do things so we don’t have to spend a cent, and we don’t have to employ people – they’re all here.
I read somewhere you’d said how artists who are complaining in Germany have no idea about how bad things really are elsewhere…
Oh… yes, it’s my pet thing at the moment! It’s like, I just find that this German word, “jammern”, it’s like this, well, more than complaint, this … <whining noise>… and you know, I understand any freelance artist can do that if they’ve lost jobs. I have no problem if friends of mine, freelance friends, do it – they can complain twenty-four hours a day if they have no money. But for people within the system who are getting their full monthly payment and doing no work – like the orchestra, like the chorus, like the soloists, like the technicians – you know, shut the fuck up. Really. I don’t even want to hear about your difficulties – you have none, you’re being paid and not working. And then they say, “We miss performing!” And I say, “Go stand in front of an old folks’ home and play your violin like so many other people are doing!” When I speak to all my friends in America, Canada, Australia, Britain, they’ve just lost six months of work! Some of them fall between the funding slots so they can’t apply for financial help! So… really.
Comparatively speaking , I think many classical artists outside of Germany look in with envy because of the system being much more well- funded.
Well it is. The system is stronger, and the financial packages are bigger – Merkel announced €1 billion for the arts, but that’s on top of hundreds of millions the city gave, and on top of the billions they give to the arts anyway.
Is it true you don’t like the term “reduced” opera? That seems to be what many organizations are doing, or thinking of doing, right now.
I mean, I don’t think if something is small that it’s “reduced.” Certainly if you have a reduced Ring Cycle, like the one by Jonathan Dove, it’s a reduced orchestration, but what we’ve deliberately done is not that, even though we may be using smaller forces. Some of the best pieces of music ever written are small, and quite frankly, if we have to have a six-month pause from Mahler, well, there’s too much Mahler being played anyway – it’s lost its specialness being done so much. But more Mozart, Beethoven, Mendelssohn and Bach wouldn’t hurt anybody! Not everything has to be monolithic – but “reduced” is a word that implies things that I don’t want to imply. We all know what the situation is, and I feel it’s better to say, “We’re doing a version of The Countess Of Gerolstein” and not “We’re doing a reduced version” – I don’t like that word “reduced.” I’ve tried to ban it.
The needed move into these smaller versions of things highlights an intimacy within the overall experience which audiences may have been craving – this idea that opera and classical must always be so grand and monolithic, as you say, is being dismantled.
Indeed. Let me give you an example. We started rehearsals recently for a planned production of Pierrot Lunaire with Dagmar Manzel; she’s been wanting to do this for the last twenty years. We paired it with those two fabulous Beckett monologues, Not I and Rockaby. This was planned two years ago, but the idea we begin a season with that talking mouth, I mean… it couldn’t be better, that you actually begin the first season after the whole corona thing with not music but Beckett’s (style of) music and this insane talking mouth! And just to be in the room and to work on that Pierrot Lunaire score – it’s an important work written in Berlin in 1912, just before Schoenberg started to meddle in 12-tone music – but you forget what an astonishing piece of music it is. Stravinsky said Pierrot Lunaire was like the solar plexus of 20th-century music. You hear so much in these tiny twenty-one poems – they’re not even sung, there are about ten notes the speaker has to sing, but with five instruments. And it’s just as extraordinary as Tristan und Isolde, it’s just as extraordinary as Wozzeck, and it’s just as extraordinary as the chromatic worlds of Mahler 6 and 7, so you suddenly think, well, maybe forget the epic, forget the grand, forget the huge statement – there’s plenty of repertoire to use.
But I do tend to feel a bit wary of giving large philosophical or existential answers about what is art, what is culture, what is opera, what will it be, what should it be, when we’re still in the middle of a health crisis. We can have this discussion maybe next year when we’re in the middle of a financial crisis, because that’s going to hit. I feel my job now is to try and discover what wonderful pieces of music theatre we can perform with the resources we have available and within the constraints which are in place. It’s very pragmatic; I think the existential things can come later.
Speaking of pragmatism, KOB has enjoyed a fruitful partnership with Opera Vision; the broadcasts have had a central role in shaping ideas relating to culture within the digital realm. Those working in music and theatre have said numerous times over the past four months that video can never replace the real thing, that the live experience is entirely singular and of course that’s true – but digital isn’t supposed to replace anything; it’s ancillary, complementary, an add-on, and it’s also very helpful for those who can’t make it to the actual location. You have a digital component to this new fall season, which implies an embrace of technology as part and parcel of this new way to experience culture in the so-called “new normal.” Why?
I’ve always said technology isn’t here to replace the live experience; it’s to operate through it in some way. It is a great marketing tool – we hardly print anything anymore – and it’s also a way, as you said, to share. Not everyone, outside of a few German opera critics, can jump on an airplane and come see work all the time, so what’s the choice, you can’t see this show because we don’t want to present it digitally, or we give you the opportunity to see it and… ? I think after the crisis finishes there’s a big discussion to be had about rights and royalties; people should be paid something, the time of all free-free-free should be over. I’m also not sure in future we’d have everything free online; we’d have to look at that. So I think if we do charge for viewings, the money would go toward the artists’ royalties in some way. I think it’s very important. But yes, when it comes to digital, people jump to the polarized position: when opera has a livestream, it’s “oh this is the end of the magic of opera!” and you go, “No.” I don’t make the jump from ‘making it accessible and available in another form’ to ‘it’s the end of opera’ – I don’t make that jump.
I do feel differently with the cinema stuff; I think there’s a big difference. You can sit at home and watch Moses und Aron in your house, which I like the idea of, but I’m not so wild about you going to your local cinema and buying a ticket to see that work live on the big screen. For some reason I think that competes then, it takes away from your local house, and makes it into a cinematic experience…
… which it wasn’t meant to be in the first place.
Right. But I like the idea of streaming things at home – that sort of accessibility I like a lot. Digital is there as another way of exploring how we can make interesting work available to more people. We did Moses und Aron for only six performances, so only 7000 people saw it live – we sold out the run – but now already 15,000 or even more have seen it in the last few weeks. So more people saw it digitally than they did originally. I’m not going to complain about that.
Robert Hayward as Moses in Moses und Aron, Komische Oper Berlin, 2015. Photo: Monika Rittershaus
The style of filming was very specific to online streaming; it wasn’t trying to be cinematic but did provide a different perspective than if one had been sitting in the back row on the top tier of the house.
Every theatre experience is different if you watch it live or filmed, and we were very lucky when we decided during my time at KOB that we would do livestreams and we would record them. I think the other big house that has a library for livestreams is Munich (Bayerische Staatsoper), in terms of being able to just release productions during the last few months, but my job is to try and entice people to Berlin eventually, so if thousands of people have seen these productions in the last few months, maybe some are thinking, “Oooh I want to go to Berlin, what are they doing right now?” It’s all connected.
I shared the link for Die Perlen der Cleopatra to a friend who is writing a musical and although he doesn’t know the KOB’s work he loved it and was curious to see more.
That’s great! I think for non-Germans, in terms of seeing operetta or musicals done on that scale, you just don’t see it anywhere else quite like that.
We’ve spoken about operetta in the past, and it’s nice to see it as part of your autumn programming.
We do need laughter right now. What I’ve found amazing the last few months is, at the beginning, when the shock of the lockdown was dissipating – we had our lockdown so early – various things came online and people started to play, and it was terribly lamento, this self-indulgent thing of “it’s the end! I’m playing the saddest most depressing music I could imagine to share with you across the world!” And I’m thinking, you know, it’s not a requiem we’re dealing with. I think we can still assume, when we weren’t playing, and then when we do play, we want to present a spectrum of music theatre experiences, so to balance the Schoenberg and Iphigenie, (KOB) had to do an operetta with the ensemble, because by the time we get to October we’ll have to have some laughs along the line. That’s not to make any light of any situation or of the hundreds of thousands of deaths, but we’re going to have to not just sit here and think it’s the end. Because it isn’t the end.
It’s felt that way for many – there’s been a lot of despair because of the pandemic situation.
Yes but I think we’re also got to realize it’s all about perspective. The Western idea of despair is not on the scale of despair on other continents. Historical despair… you know, a lot of the sort of, German cultural scene at the moment is railing against the idea of wearing masks and think it’s hysterics and whatever, the whole discussion is about, “are my freedoms and rights being taken away by being told to wear a mask in shops and on public transport” and I think, if your definition of the loss of freedom and rights is about wearing a mask to maybe not infect someone else in society, then you need to go and live in a country when freedom and rights are really under threat. That to me is another issue of this whole thing.
I said to my house as part of an internal video that I think it’s very important we have a perspective about this, and that it’s very easy to sink into a negativity – you can sink into a frustration, but as I said at the beginning, you know, outside the Western European cultural system, it’s terrible – orchestras, dance companies, institutions that have been developing for decades are under existential threat, and I think sometimes it’s better if you’re lucky to either help people or to shut the fuck up.
… or whinge on the internet?
The internet is the great whinge forum of all time! I don’t mind people being frustrated, I can understand it, and also understand I speak from a privileged position, and I’m very careful about that. I think crises always bring out the best and worst of people. It’s interesting to run a house when you’re successful, it’s also interesting to see how stable the ship is if you’re in a storm. That’s also interesting.
You’re hoping to leave something of a stable ship at KOB in the near future, then?
I leave in two years, but I sort of don’t leave, because I’m still staying on to do my work and as an advisor. I’ll be looking after the whole renovation project for two years, my team I’ve been working with are taking over the house so there’s continuity there but it’s a chapter finishing, and the last thing I want to do is hand over an institution that isn’t strong and creative.
I feel like this whole lockdown experience has been such an exercise in humility for many.
It still is, and everyone’s in the same boat. Salzburg, it’ll be interesting this summer to see what happens there in the laboratory of Salzburg, but that’s also not quite the reality, because Salzburg is a summer festival. At the Felsenreitschule where they’re presenting Elektra, there is no pit, it’s a huge, open area, so they don’t have to deal with musicians and big orchestras in pits and big choruses and hundreds of people backstage – they don’t have to deal with any of this. So I’m skeptical of it being used as a template of how the future will be. I wish them well, but it has nothing to do with what we’re doing or the challenges we face.
… or the audiences you have.
The average age in Salzburg is 345; we are considerably younger than that.
Photo: Jan Windszus Photography
And your Der Rosenkavalier is still in the books next year in Munich.
We won’t be changing it. If we have to do social distancing, it’ll be postponed. I can’t do with it what I’m doing with Boris Godounov in Zürich – the chorus and the orchestra will be beamed into the opera house live, and the singers and extras will be doing a strange, dreamlike production live, but I can do that with Boris Godounov because it’s fragmented anyway, it’s about history and how we remember history, so conceptually, fine – that’s not how I conceived it, but it’s fine.
But with Rosenkavalier, no! The opera itself is impossible to do with any form of social distancing, and it’s impossible to play in a smaller orchestral ensemble. They’re building the sets so it’s not as if it won’t happen. But as I said, I refuse to get into a situation where it’s, “Oh no my precious Rosenkavalier, it simply must be done!” – yes, I’d be devastated if it didn’t happen, but if it doesn’t happen in February-March, well, they’ll have to do it at some time; they’ve invested so much in costumes and sets already. I really want to do it next year, but it’s impossible to know what’ll happen, and they know that. Some of these productions we’re planning are impossible to do with restrictions, but I’m not even thinking about next year. January the 1st is not on my radar.
So it’s an exercise in non-attachment then?
It is. And the good thing about Rosenkavalier is that the work had all been done before corona – we’ve been working for three years on it, three-and-half years in fact. And it was all sort of finished in terms of the large concept – that was finished, but now it’s how it’s to be done, working it out in rehearsals, as you know. So it’s Strauss, and Rosenkavalier, and it’s Kosky’s Rosenkavalier, and in Munich: throw everything and the kitchen sink into it! And yes, there’ll be a lot of surprises in that one.
But first some surprises in the autumn in Berlin…
I think what’s happened in the German-speaking world is there are two thoughts: one thought is to bury your head in the sand and say, “It’ll all be fine and we’ll deal with it after summer; just wait and see” and… I don’t think that’s the way to do it. Some of the larger houses are doing that. But the other thought is to ask: how far ahead do we want to imagine this will have an impact on us? The Met cancelled my Fiery Angel I was meant to come for a month to New York to do – which I am sad about. I was going to go to Tel Aviv to do Magic Flute also, and it got cancelled.
So when the lockdown first happened, I thought, “I’m in Berlin, and that’s good; it’s good to be with my house” and I said, “I think we have to just scrap everything.” So we postponed the three premiers that were to happen this season: Katya Kabanova, the children’s opera Tom Sawyer, and (Rise and Fall of the City of) Mahagonny, which are going into 2021-22. We cancelled four revivals as well. For me it’s more interesting not to adapt or reduce – that terrible word – existing repertoire, but to start from scratch, to invent things, do new things, all with social distancing. The biggest thing is smaller audiences –okay, that’s one thing, but the social distancing with an orchestra and ensemble, that’s the tricky thing. I said, “Let’s see what we can do; do I want to do this in a year’s time? Or for a few months’ time next season? I’ll have to do it.” And the only way we can do this and have the luxury to do it, is because I have 105 orchestra musicians, 60 chorus members, and 24 singers, all on salary. And I said “okay, we won’t have any sets; we’ll have a bare stage but we’ll invest in lights and costumes” and I’ll be in the rehearsal room with my company creating things. The alternative is to say, “We can’t possibly present anything” and that’s not an option if you’re being paid millions and millions of Euros in taxpayer money. It’s not an option.
It’s a sharp contrast to the North American system.
It costs money, that’s the thing. We have a 90% subsidized system here and we also have ensembles, which don’t exist in North America, They can’t do anything. And they actually save money by not investing money – of course they could put on this and that but it’ll cost money, and as you know, it’s all box office, box office, box office, so it doesn’t make sense to have a few hundred people in the theatre…
Or outdoors.
Right, it still costs. I know from discussions with my colleagues in North America, yes, as you said before, they look over here with extreme jealousy. We know where the biggest costs in opera go – they go to salaries of orchestra, chorus, and singers; it’s a very different discussion being had in North America and Britain, and as I said, within the subsidized system we are even more lucky because we are a repertoire-based ensemble house; we are not having to pay a lot of guest singers.
When I spoke with (KOB Kapellmeister) Jordan de Souza near the start of the lockdown (for Opera Canada’s summer 2020 edition) he explained how rescheduling singers and guests is a tremendous jigsaw because cancellations mean constant changes.
It’s not a jigsaw; it’s a domino set, and it’s always falling! Jordan is absolutely right though, you deal with cancellations and the new plan, and then of course the longer it goes on the more problems it creates because someone is suddenly not available, they’re meant to be here, or they’ve been postponed, or “oh that’s still happening, we’re changing the version, are you free then?” It’s been a nightmare of coordination. A nightmare! And that’s why I did what I did: by sweeping everything off and concentrating on one thing, it instantly creates a new situation.
The difficulties are with next year; the more there are postponements and cancellations, the more it gets really complicated. In Berlin we decided to keep the workshops open; they’re building all the sets for all the new productions as per normal because if we don’t do that we get into a situation where you can’t just switch on a machine and build a set in two weeks. Secondly, there’s a few hundred people not working and they need to, as a purely psychological exercise in saying, “These sets have to be built.”
So you don’t really have a proper summer…
I’m rehearsing Pierrot, but I do have two weeks’ holiday in Greece. In quarantine I had seven weeks off, which is the longest I’ve had off in thirty years.
It was nice to see you accompanying various KOB ensemble members on the piano over the course of the lockdown.
That was an easy thing to do, they’re great people. It started with Katherine Mehrling doing the Kurt Weill songs, there was something like 15,000 people who saw it. We saw that number and went, “oh! Let’s do it every two weeks then, and feature people associated with the house!” I didn’t want it to be… I mean, you look at other houses, and their livestream musical presentations with no audience are treated like a funeral. That’s why we called ours celebrations, like, “here’s a little taste of something and we hope you enjoy it” – I wasn’t making any great statement about the times we live in, I just wanted to show people we’re still there and we’re thinking of them. They were fantastically successful, but after five we said “that’s enough, we have to get back to working” but also, I play the piano very rarely in public, and so I get such enjoyment out of doing it, particularly when accompanying. I’m not interested in playing solo, I just like playing with great people. I feel happy and secure when they’re in front and I’m playing away behind them – but also it’s a middle finger, to show people around the world who assume directors aren’t musical or that directors don’t know or care about music. All of that is nonsense. Sometimes it’s good to remind people of that.
You read the work of Joseph Roth as part of an early episode in Daniel Hope’s ARTE series at the start of the lockdown; that reading began with your dedication to people who were enduring the lockdown alone. I must confess when I heard you say that, I stood in my kitchen and wept with gratitude – it was very special to feel seen during that time.
I have a number of friends who are between partners, or don’t have partners or families or whatever, and were doing it alone, particularly the first part of it, and I kept thinking, “Oh my god, a few days and nights fine, but for weeks and weeks and weeks, that’s quite tough” – especially in some countries that had very severe lockdowns. So I really felt for a number of my friends. And I thought about the time when I didn’t have a partner or whatever, and I have a dog too, which helps – the dog has to get out and have a pee – but I thought about those who were alone, I mean… oh, that’s quite hard. We all love being alone at various times; I love being alone in my apartment or walking my dog, but weeks and weeks and weeks and weeks of it… my God.
So it just came to me, I mean, I so love Joseph Roth, and I love everything about his writing and everything about him; he was this sort of solitary journeyman going on trains through Europe and staying in hotels. Actually a few minutes before we went on, I said to Daniel, “Can I say something?: and he said, “Whatever you like!” He was playing something beautiful and melancholic just before, so it was a spur-of-the-moment thing, but I’m glad I did it.
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Update 22 June 2020: The Canadian Opera Company has cancelled its 2020 autumn season. The conversation with COC General Director Alexander Neef, below, took place in May 2020, prior to the official announcement.
Cancellation, closure, calibration: these are the elements at work within an arts industry trying desperately to stay afloat in the middle of a pandemic. What to cancel? What to postpone? What to calibrate – or recalibrate – as the situation warrants? Which companies will be around in year, and which will close? Some organizations are busily preparing for presentations of old favorites within the context of a new normal dictated by the coronavirus, acting, consciously or not, as beacons of an industry facing an immense and undeniable transformation.
The annual Salzburg Festival, for instance, will be going forwards in a modified form as of August 1st. On the slate is Elektra (with Aušrine Stundyte in the lead and Franz Welser-Möst on the podium, in a production by Krzysztof Warlikowski) and a revival of Così fan tutte, as well as four theatre works (including the world premiere of Zdeněk Adamec by Peter Handke) and numerous concerts, including a Beethoven cycle by pianist Igor Levit. In Germany, Deutsche Oper Berlin (DOB) has also made adjustments. The company recently announced a 90-minute chamber presentation of Das Rheingold in its very own car park, running for five performances starting this Friday (12 June), and featuring twenty-two musicians and twelve singers. The production, by Jonathan Dove (who also did orchestration) and director Graham Vick for the Birmingham Opera Company, is not the first presentation by DOB in such an environment; in 2014 the company presented Iannis Xenakis’ Oresteia in the very same parking deck. Wagner’s first opera in his epic Ring Cycle had been originally planned as a fully staged work from director Stefan Herheim, a premiere which has since been postponed. The upcoming version, adhering to the guidelines set out by the Senate of Berlin, has a €5 entry fee and a pay-what-you-can structure, with audience member contact information being recorded and a 1.5 metre distance enforced; moreover, masks will be required when entering and exiting, toilets will be accessible, and (rather crucially) small bottles of “beverages” will be made available to visitors.
Such an ambitious undertaking underlines the very thin lines that currently exist between possibilities and probabilities. Those who can are doing their best, in the most creative and safe methods presently allowable; others are bending and flexing in ways heretofore unimaginable six months ago. The Metropolitan Opera cancelled its autumn season and will be reopening (ostensibly) on December 31st, although it continues to offer a revolving slate of productions online. Looking over their latest release, it’s hard to not think of the artists who were set to make their debuts at the house this autumn, either in a role or with the company itself: soprano Christine Goerke was set to sing her first fully-staged Isolde in a revival of Marius Treliński’s production of Tristan und Isolde; 74-year-old conductor Michail Jurowski was to have made his Met Opera debut leading Prokofiev’s The Fiery Angel. On the other side of the ocean, the Royal Opera House, itself in dire straits, is getting set to launch a new series, Live From Covent Garden, on Saturday (June 13), which will complement its extant online offerings of opera and ballet. Curated by Sir Antonio Pappano, Music Director of The Royal Opera, Oliver Mears, Director of Opera, and Kevin O’Hare, Director of The Royal Ballet, the event (set to be broadcast on BBC Radio 3 on June 15th) will feature performances by baritone Gerald Finley, tenor Toby Spence, soprano Louise Alder, and the premiere of a new ballet choreographed by Royal Ballet Resident Choreographer Wayne McGregor. The following two presentations of the program, on the 20th and 27th of June respectively, will be available on a pay-per-view basis. Like every company, a prominent “Donate Now” button is displayed on the ROH homepage, one whose request will no doubt grow in urgency as the autumn season inches ever closer.
Rosario La Spina as Radames (background) and Sondra Radvanovsky (foreground) as Aida in the Canadian Opera Company’s production of Aida, 2010. Photo: Michael Cooper
For Canadian Opera Company (COC) audiences, the fall season is just as fraught with uncertainty. In late March the company made the difficult if necessary decision to cancel the remainder of its 2019-2020 season, which was to include revivals of The Flying Dutchman and a wildly divisive staging of Aida by Tim Albery. Bereft of the gilded visuals so frequently attached to presentations of the famed Verdi work, the production had been anticipated for the reactions it might have provoked a full decade after its premiere. Would Toronto audiences have grown to accept Albery’s arresting vision? Would it have been so upsetting in 2020? Will it even be staged again, now that COVID seems, for some, to have put a damper on even perceivably risque productions and programming? The opportunity to discover the elasticity of the COC audience was, alas, lost this spring but another chance, possibly, awaits in the fall. The company is set to present Wagner’s Parsifal – the first presentation of the opera in the COC’s history. A co-production with Opéra de Lyon, The Metropolitan Opera, and the COC, the highly abstract (and at times, very bloody) François Girard-helmed work was presented in February 2013 at The Met, to widespread acclaim. Owing to the monumental nature of the production, the company launched a fundraising campaign with various levels of support named after elements of the opera. Tenors Christopher Ventris and Viktor Antipenko share the title role in the COC production, with Johan Reuter as Amfortas, Tanja Ariane Baumgartner as Kundry, and Robert Pomakov as Klingsor; COC Music Director Johannes Debus conducts. Opening night is scheduled for September 25th.
A scene from The Metropolitan Opera’s production of Parsifal, 2013. Photo: Ken Howard
According to Canadian Opera Company General Director Alexander Neef, those plans are still intact. Neef, who is also Artistic Director of the Santa Fe Festival, had been set to leave the COC at the end of the 2020-2021 season and become General Director of the Opéra national de Paris. The company is facing €40 million in losses this year alone, from both the pandemic as well as numerous strikes which occurred before the lockdown. The Opéra’s current Director, Stéphane Lissner, announced in an interview with Le Monde on June 11th, 2020 that he’s ending his mandate at the end of 2020, emphasizing the extreme nature of the situation brought on by the coronavirus pandemic: “nous ne sommes pas dans une situation de passation normale.” (“we are not in a normal handover situation.”) Neef confirmed in a COC release the following day that he “certainly did not anticipate Lissner’s early departure and that also confirmed not leaving Canada just yet. Neef says he “has not yet had any formal discussions – either with the Paris Opera or members of our Board of Directors – about accelerating the start of my engagement in Paris. Moreover, the ongoing global health crisis makes it difficult to envision how any significant changes to the intended timeline could be accommodated.”
Back in May, Lissner spoke to the unfeasible economics around presenting opera at the Garnier and Bastille theatres within prescribed social distancing mandates. France, like most other locales, requires audience members to be two meters (6.5 feet) apart. “Le protocole [proposé pour reprendre les spectacles] est impraticable : impraticable pour le public, pour les artistes et pour les salariés. Suppression des entractes, c’est impossible, faire entrer 2700 personnes en respectant les distances, c’est impossible, la distance dans l’orchestre, dans les chœurs, c’est impossible,” he noted in early May (“The protocol [proposed to take over the shows] is impractical: impractical for the public, for the artists and for the employees. Eliminating intermissions is impossible, bringing in 2700 people while respecting distances is impossible, the distance in the orchestra, in the choirs, is impossible.”). Will there even be a 2020-2021 season for Opéra national de Paris? The report in Le Monde indicates, if not an outright cancellation, then a greatly altered one, with an emphasis on revivals, including La traviata (led by James Gaffigan, in a production by Simone Stone), the ballet La Bayadère, and the ever-popular Carmen, with Domingo Hindoyan on the podium, in an acclaimed staging by Calixto Bieito. The Bastille is not set to reopen until November 24th, and the Garnier in late December. A planned new Ring Cycle staging is off the books. “Fin 2020, il est probable que l’Opéra de Paris n’aura plus de fonds de roulement” (By the end of 2020, it is likely that the Paris Opera will no longer have working capital”), Lissner told Le Monde. “C’est pourquoi, à partir de janvier 2021, j’ai choisi de m’effacer afin qu’il n’y ait plus qu’un seul patron à bord.” (“That’s why, from January 2021, I chose to step aside so that there would only be one boss on board.”)
The interior of the Palais Garnier. Photo: mine. Please do not reproduce without permission.
That “seul patron” is shouldering a lot of responsibility right now. Notwithstanding this unfolding and weighty situation, plus the cancellation of the COC’s spring season and the uncertainty of its 2020-2021 season, Neef was also very recently heavily involved in negotiations to obtain recorded COC performances for online broadcast during the quarantine – hardly a simple task, as music writer Lydia Perovic ably outlined in her smart investigation into the paucity of online Canadian opera content for Opera Canada magazine in 2018. Yet in our conversation last month, before the Paris news, Neef was his characteristically cool, unflappable self. The COC head honcho and I have spoken many times over the years, most recently last summer following the announcement of his Paris appointment. The German-born Neef has always been direct if highly diplomatic, eloquent but possessing an undeniable edge of steel. With an encyclopaedic knowledge of history (not surprising, given he graduated from Eberhard Karls University of Tübingen with a Master of Arts in Latin Philology and Modern History) and a solid if wholly unsurprising knack for thoughtful casting (honed during his time as casting director at the Paris Opera from 2004 to 2008), Neef is as much passionate as level-headed; that passion shows itself in strong, well-observed opinions and observations, and then translates itself into elegantly understated wisdom. Having started at the Salzburg Festival with famed opera administrator Gerard Mortier, Neef went on to work at the Ruhrtriennale, New York City Opera, and later, Opéra nationale de Paris, before arriving in Toronto in 2008. In the decade-plus of his directorship with the COC, Neef has brought a number of celebrated international opera figures to the Four Seasons Centre stage: singers (Ferruccio Furlanetto, Anita Rachvellishvilli, Patricia Racette, Stefan Vinke, Luca Pisaroni, conductors (Carlo Rizzi, Speranza Scapucci, Paolo Carignani, Harry Bicket, Patrick Lange), directors (Peter Sellars, Dmitri Tcherniakov, Claus Guth, Robert Wilson, Spanish theatre collective Els Comediants). He has consistently championed the work of tenor Russell Thomas, who has appeared on multiple occasions on the stage of the Four Seasons Centre (The Tales of Hoffman in 2012, Carmen in 2016 Norma in 2016, Otello in 2019, and was to have performed in Aida this spring), along with that of soprano Sondra Radvanovsky (two operas in Donizetti’s Tudor trilogy as well as Norma), bass baritone Gerald Finley (Falstaff, 2014, Otello, 2019) and soprano Christine Goerke, whose Brunnhilde in the company’s year-by-year presentations unfolding Wagner’s Ring Cycle won her acclaim and, like Radvanovsky, Finley, and Thomas, bolstered a fierce following.
In mid-May, Neef took part in an online chat hosted by the Toronto-based International Resource Centre for the Performing Arts (IRCPA) in which he was asked about how he perceived the coronavirus pandemic was affecting the opera community, singers in particular; I was keen to hear more from Neef and was grateful when, not a week later, he and I had a lengthy discussion – about pandemic, Parsifal, Paris, and, to start, the question of risk and its place in the industry moving forwards.
In light of the damage the pandemic is doing in the arts world, some believe that opera programming and presentation will become more conservative, that any perceived risk in either is off the table for the foreseeable future. What’s your take – can opera afford to break eggs in a pandemic/post-pandemic environment?
To stick with your analogy: I think there is no art if you don’t break the eggs. And I think since we don’t have any live art in our lives right now, breaking eggs becomes even more important in the future. I got this really interesting manifesto in my mailbox this morning – and it’s easier to say this when you run a little company rather than when you have X number of employees you want to keep feeding – but, it says, “time to commission new works from young composers; time to ally with other theatre, cinema, dance, performing arts centres; time to follow the example of cinema, the storytelling medium that came after opera and was predicted by great opera composers” and so on. When you’re a small, flexible structure, then yes, those boats are easy to turn around; you can be much more reactive. The bigger your apparatus becomes, the harder it is to change because there are a lot of people who need to make that change with you, but in general, I’ve never believed and still don’t believe it, that going back to more traditional approaches, to what we consider “safe” repertoire, will do anything for the future sector – the only thing it will do is make people get more tired of you. Or, to say it another way, how many times will you need to see the same production of La bohème, even though it might be with different people? At some point you may say, “I’ve seen this five times over the last ten years; give me one reason why I should go again?” I think what we’ve been trying to do is to space things out enough, or to hold off with programming, so there’s still for us a reason to do (a certain opera), other than the reason that it’s popular repertoire…
Or it’s nostalgia…
… or it’s nostalgia, yes. Also, our audience is not eternal. Like everybody who deals with an audience, we are always interested in refreshing – we want a relationship with our public where we don’t always confirm what they think opera is.
That’s a big hurdle, especially for companies who play into clichés. How do you counter it?
It is a hurdle, but I continue to believe, and this crisis hasn’t changed my opinion so far, that what’s really important is people know what kind of company they’re coming to; you need to have a spine. And again, I always say, and have said: indifference is our biggest enemy. If people think, “Oh, this is the same old thing” or they leave a show and can’t remember, ten minutes later, what it was all about… well, obviously we want people to like what we do, but I prefer they hate (a production) with a passion than be indifferent to it. Unfortunately we didn’t get to do that revival of Aida that people were itching to see, for very different reasons!
I distinctly recall someone saying to me at the opening in 2010 that “it’s actually just fine if you close your eyes.”
Think what you want about that production but ten years later people still talk about it. That’s what I mean when I say indifference is our biggest enemy. Obviously there was a lot of rejection at the time but also a lot of people came to it and said, “Wow, I had no clue opera could be so current, and about me, and not just stuffy and purely representational.”
There were also younger people I know who went and later said, “That was my first opera experience and I wanted grandeur and camels!”
… and other people walked away from it thinking, “Where has this art form been all my life?!” So it’s hard to say what’s interesting to one and not to the other. People think about young audiences that, very often, those are the ones who want the avant-garde, but I think it’s not necessarily true; sometimes they’re way more conservative than someone who’s been subscribing for twenty-five years. It’s a complicated thing! But just because you are older does not mean your taste in art is more conservative – that’s not how it works.
Jonas Kaufmann as Parsifal in the Metropolitan Opera’s production of Parsifal, 2013. Photo: Ken Howard
There’s been so much effort on the part of classical organizations to try and get this mythical young audience, but I feel as if the pandemic has forced them to realize the importance of a far wider cultivation.
In the end you can’t afford to ignore any part of your audience. Right now there’s an issue with at-risk populations; a young audience is not seen as so much at-risk (for COVID), but I think that shouldn’t mean we totally abandon our older audiences. The whole discussion for me is kind of moot anyway, because you cannot separate the discussion of keeping an audience safe from keeping the performers and staff safe, and while that might not be exactly the precisely same measures, if you can’t combine both, then it’s going to be very hard to have a show. Right now the pit is a very dangerous work environment. We’re in a lucky position in Canada and the COC – we won’t be going back into rehearsals before two-and-a-half months from now, so we will have better information in two weeks, four weeks, six weeks, that will allow us to make better decisions. The big hiatus we have now, I’m rather grateful for that.
Some in the Toronto opera world are wondering what will happen to Parsifal – it’s been a long road to having it staged at the Four Seasons Centre.
What I say is: I simply don’t want to make that decision right now. And I don’t feel I have to. Right now we’re living in an equation with too many variables and those variables make it hard to solve that equation. There’s already some measures falling in place in terms of public health advisories, and some of the variables are starting to be eliminated. Today I read something stating that essentially the virus is mostly circulating in the GTA (Greater Toronto Area) and the rest of Ontario is under control – which is not great news for the GTA, but it’s true in all urban centres – Montréal, Paris, all those places – it’s true that it hangs on (in those locales) for longer because there’s more movement of people, but it also means it can get contained. We need to have a better idea of the public health measures.
Obviously we won’t be able to perform Parsifal if we have to have limited numbers in the audience, it’s an economic nightmare and it wouldn’t be worth it. We couldn’t even accommodate all of our subscribers (in that scenario), but we have to be prepared, and we are taking the time to be prepared, and when we have to make a decision, we will gather all the elements to make the best decision for our staff and performers, and the house, and everyone.
The interior of Palais Garnier. Photo: mine. Please do not reproduce without permission.
It’s a strange new equation to accept, that we are now in a world where there’s a question mark over both Parsifal and Paris’s opera season.
It is a strange new equation, and with strange new variables – and I think one needs to take this a week at a time. There are supposed to be additional announcements of openings in Europe…
… under strict conditions. Returning to the theatre-going experience people are familiar with will take much longer.
Yes, and it’s a two-way street, or more than a two-way street. A part of it is medical progress as well – I think even more effective and widely-available testing will do a lot to reassure the public about the situation. That is big! Everybody knows the vaccine will take a little while but also we’re working on all kinds of things in terms of an effective antiviral, because the truth is, if we didn’t have a flu vaccine we would be having a terrible situation every winter. But because we have a flu vaccine there’s no discussions of masks or additional hygiene measures during flu season… so we need to find a way through additional safety measures, through progress in medicine, all of that, to kind of normalize this situation in a way that is… I mean, there’s always a risk: you leave your house and you can catch something on the subway, right? That happens to a lot of people. I am not a scientist and indeed COVID is very contagious – if you get sick you can get very sick, but we need to take time to really learn more about it and then calibrate all the available information and input it back into a form where people can gain a certain amount of comfort in leaving their homes, in order to assess different levels of risk.
View from the orchestra pit of R. Fraser Elliott Hall at the Four Seasons Centre for the Performing Arts. Photo: Lucia Graca
How do you see the current recalibrating in the opera world influencing not only companies but artists?
Again, for everything that’s on the performer’s side, regular testing is going to be the key so that you can be certain the people working together in confined spaces, people touching each other in rehearsals and so on, they can have a reasonable level of confidence that everybody is up to date on their health. Now it’s the case that you wake up in the morning and you feel a little bit off and take your temperature; three months ago you would have thought, “Oh I’ll see how I feel in the afternoon” but today you get the thermometer out and look at the reading and say, “It’s not normal.” People will be more sensitive to their own symptoms and more responsible, I think. I was reading something interesting, about how work culture will change, especially in North America, where coming to work sick was like a badge of honor, not letting the company down, now it’s, “You’re not feeling well, we don’t want to see you” and that’s not necessarily a bad thing! That’s the performer’s side.
On the audience side, if people feel safe again if wearing a gloves and a mask when they go somewhere and feel okay to sit next to someone they don’t know, if we can reach that level of confidence, I think nobody will care about people wearing a mask in the foreseeable future in a theatre, even if it’s not a requirement. It will be part of the new normal, and frankly, it’s normal already in certain parts of the world. It’s funny that in Canada, which was so haunted by SARS, mask-wearing didn’t become a norm, so maybe now it will. If that’s the worst thing that can happen to us, that people put on a mask before walking into the Four Seasons Centre, we can do that. There’s so much cultural change about masks that’s already happened – people felt, “Oh you can’t speak with a mask” – well, people do it all the time. I was at the supermarket the other day and ran into someone I know, and we didn’t take our masks off, we just spoke with our masks on at a safe distance. Places are going to normalize these kinds of protocols, and it’ll make it all less scary, I believe. And of course, if you are part of a risk group, you would think twice about where you go and what you do; we might be able to accommodate you somewhere in the theatre. We’re more than happy to do that with patrons; it’s our business to accommodate their needs. Frankly, every theatre would be willing to do that to get their patrons back. But then again it’s not something we haven’t done already in making all reasonable accommodations for people with needs.
Tenor Russell Thomas in rehearsal for the Canadian Opera Company’s production of Otello, 2019. Photo: Canadian Opera Company
And casting?
That’s actually one of the bigger problems we’re discussing. Zoom doesn’t give you a lot of information about the size of the voice but it does give you information about the personality you’re dealing with, about pitch, about rhythm. We were talking about this in relation to the ensemble, for example; they were Zoom coaching before they went off contract for the summer. Everybody hated the idea initially, and then came away saying it was better than not doing anything at all, so that is obviously also a part of that new normal, as you say. There’s also the situation of stage auditions and having a pianist and nobody in the hall except for two or three casting people; that seems less complicated than a full stage performance in this environment, if you can get them safely in through the stage door and onstage. All these things are being worked out.
It probably will… but… I look at it more as an added tool to what we’re already doing than anything else. We have more and more tools at our disposable, yes, but there’s a lot of the old stuff that still works and we can’t abandon it, that’s been true for our marketing and communications as much as for casting – we still send postcards to people (for marketing) because there’s people who really like postcards, maybe not as many as twenty years ago, but it’s still a valuable part of our audience, so why would we abandon that practise?
So the same holds true for singers then? I see a lot of imitation online.
As I said in the IRCPA talk, people who do casting are really not very interested in generic products…
… you mean in terms of singers pushing an homogenous image?
Yes – going back to your breaking-the-eggs metaphor at the beginning of our conversation, if you don’t have that appetite for risk-taking there’s not going to be a lot of art in what you do.
Strange to think that being yourself is perceived as a risk.
We all know it’s the hardest to be yourself – but as an artist you have the opportunity to not be yourself, and to figure that out, and to live it out, in a way a lot of people cannot, but I think it’s very important to have that self-assessment skill and to figure out, clearly, “What can I do better than other people?” If you have better high Fs than anybody, then all I want to know is, can you sing Queen Of The Night? That’s the thing, and there’s nothing bad about it, and you must acknowledge that as you get older, your high Fs won’t be as great, and you’d better figure out what you can do then.
Or have figured it out already…
Yes. It comes back to having a lot of courage. Sometimes I feel the courage, especially for a young artist, will always come before the self-assurance, but it’s kind of a bit of – I really like this egg thing you started with! – it’s a chicken-and-egg situation: if you don’t put in the courage it might just never happen, but you will not know if there’s a reward before you’ve done it, and I think doing it for the first time, and seeing if it works, will give you more courage for the second time, and so on.
The benefit of digital is it’s creating a vital form of community a lot of people miss right now – are the recent COC opera broadcasts a sign of things to come?
Right now it’s a concession to the times we’re in; we wouldn’t want to necessarily put archival recordings out as a standard, but what’s important for me is – and some don’t see it this way but that’s fine – that it’s about creating a presence for all those artists who can’t work right now. Putting this kind of work out – work that was done in a good environment, where (artists) are performing good roles with a good company, with a high level of quality – reminds the world that is what artists do. And having such material released also reminds the world that this is just a video, and if you want the real thing, you will have to come back to the theatre and get a real-life experience.
So you see video as a complement, not a replacement?
Absolutely.
The exterior of Palais Garnier. Photo: mine. Please do not reproduce without permission.
I asked you this in our conversation last year, but of course so much has changed, and I want to ask again: what are you taking with you now from Toronto to Paris?
I’m not leaving just yet!
Something you’d noted before is your desire at Opéra national de Paris to highlight various historical aspects within a contemporary context.
That hasn’t changed, of course – putting historical opera within the larger context of what happens today, for 21st century artists and for a 21st century audience – that won’t change, but we’ll have to see as we emerge from this crisis, what has actually changed, and when we can go back. That (plan for return) will determine a lot. The longer this goes, the more we will have to think about smaller things we can do for limited groups of people. The goal is to go back to fully staged opera as quickly as possible, but if we can’t do that, we better get inventive. Ultimately I believe in the resilience of the art form.
Andreas Schlüter, Kopf einer Göttin (Head of a Goddess); Bode Museum Berlin, 1704. Photo: mine. Please do not reproduce without permission.
A new year is a good time for assessments and remembrances, for reflecting on moments good, bad, and otherwise. As well as a desire to keep more cultural experiences within the personal realm, I’d prefer look ahead, to things that spark my imagination and inspire expansion, challenge, and evolution.
Earlier this year a friend observed that my tastes have become (his words) “more adventurous” over the past eighteen months or so. Flattering as this is, it’s also a reminder of the extent to which I have layered over my past, one largely spent wandering through the vast, lusciously dark forests of curiosity and wonder. Decades of weighty responsibility cut that forest down and gave me a deep trunk, into which all the unfinished canvases of a fragrant, lush wonder were stored; I came to believe, somehow, such a trunk had no place in the busy crowded living room I’d been busily filling with the safe, acceptable predictability of other peoples’ stuff. My mother’s passing in 2015 initially created a worship of ornate things from her trunk — perhaps my attempt to raise her with a chorus of sounds, as if I was Orpheus, an instinct based more in the exercise of sentiment than in the embrace and extension of soul.
Contending with a tremendous purge of items from the near and distant past has created a personal distaste for the insistent grasping and romanticizing of history (though I do allow myself to enjoy some of its recorded splendor, and its visual arts, as the photos on this feature attest). Such romanticizing utterly defines various segments of the opera world, resulting in various factions marking themselves gatekeepers of a supposedly fabled legacy which, by its nature, is meant to shape-shift, twist, curl, open, and change. It’s fun to swim in the warm, frothy seas of nostalgia every now and again, but mistaking those waves for (or much less preferring them to) the clear, sharp coldness of fresh water seems a bit absurd to me. À chacun son goût, perhaps.
František Kupka, Plans par couleurs, grand nu; 1909-1910, on loan to Grande Palais Paris; permanent collection, Guggenheim NYC. Photo: mine. Please do not reproduce without permission.
Rediscovering the contents of my own trunk, pulling each item out, examining it in the sunlight, looking at what it means now (if anything) and deciding whether to keep or bin, has been a slow if meaningful process; it has been a homecoming to myself, one groaning and gloriously stretching with every breath. Refreshingly, such a process has not been defined by the rather narrow tastes of a somewhat culturally dictatorial mother, but by things I like, things I miss, things have no need to feel validated for liking.
“You’re so serious,” I was once told, “serious and critical and intellectual.”
I don’t know if any of these things are (or were) true, but making a point of experiencing the work of artists who reveal and inspire (and challenge and move) has become the single-biggest motivating factor in my life. “Adventurous” is less a new fascinator than an old (and beloved) hat. Here’s to taking it out of the trunk, and wearing it often and well in 2019.
The year opens with an old chestnut, reimagined by director Calixto Bieito into a new, bright bud. Bieito’s productions are always theatrical, divisive and deeply thought-provoking. Doing a formal staging Verdi’s famous requiem, instead of presenting it in traditional concert (/ park-and-bark) mode, feels like something of a coup. Paolo Arrivabeni conducts this production, which premiered in Hamburg last year, which features a stellar cast, including the sonorous bass of Gabor Bretz.
Jean-Joseph Perraud, Le Désespoir; 1869, Paris; Musée d’Orsay. Photo: mine. Please do not reproduce without permission.
A double-bill exploring the various (and frequently darker) facets of human relating, this Marius Treliński production (from the 2014-2015 season) features soprano Sonya Yoncheva and tenor Matthew Polenzani in Tchaikovsky’s one-act work; baritone Gerald Finley and soprano Angela Denoke perform in Bartók’s dark tale of black secrets, last staged at the Met in early 2015. The orchestra could well be considered a third character in the work, so rich is it in coloration and textures. No small feat to sing either, as music writer Andrew McGregor has noted that “the music is so closely tied to the rhythms and colours of the Hungarian language.” Henrik Nánási, former music director at Komische Oper Berlin, conducts.
Spoiler: I am working on a feature (another one) about the Quebec-born composer’s influence and the recent rise in attention his work have enjoyed. Kopernikus (subtitle: Rituel de Mort) is an unusual work on a number of levels; composed of a series of tableaux, there’s no real narrative, but an integration of a number of mythological figures as well as real and imagined languages that match the tonal colors of the score. This production (helmed by director Wouter van Looy, who is Artistic Co-Director of Flemish theatre company Muziektheater Transparant) comes prior ahead of a production the Canadian troupe Against the Grain (led by Joel Ivany) are doing in Toronto this coming April.
It was while investigating the work of Russian composer and pianist Rodion Shchedrin that I learned about the work of contemporary composer Alexander Vustin — and became utterly smitten with it. A composer who previously worked in both broadcasting and publishing, Vustin’s opera is based on the 1772 Jacques Cazotte novel Le Diable amoureux, which revolves around a demon who falls in love with a human. Vustin wrote his opera between 1975 and 1989, but The Devil in Love will only now enjoy its world premiere, in a staging by Alexander Titel (Artistic Director of the Stanislavsky Opera) and with music direction/conducting by future Bayerische Staatsoper General Music Director Vladimir Jurowski.
Inside Opernhaus Zurich. Photo: mine. Please do not reproduce without permission.
The Opernhaus Zurich website describes this work, which is based on a play by Belgian dramatist Michel de Ghelderode, as “one of the 20th century’s most potent works of musical theatre.” It is also one of the most harrowing things I’ve seen; anyone who’s experienced it comes away changed. Directed by Tatjana Gürbaca (who’s directed many times in Zurich now), the work is, by turns, coarse, shocking, cryptic, and deliciously absurd. General Music Director Fabio Luisi (who I am more used to seeing conduct Mozart and Verdi at the Met) was to lead what Ligeti himself has called an “anti-anti-opera”; he’s been forced to cancel for health reasons. Tito Ceccherini will be on the podium in his place.
Another wonderfully disturbing work, this time by early 20th century composer Alexander von Zemlinsky, whose “Die Seejungfrau” (The Mermaid) fantasy for orchestra is an all-time favorite of mine. Der Zwerg, or The Dwarf, is an adaptation of Oscar Wilde’s disturbing short story “The Birthday of the Infanta” and is infused with the sounds of Strauss and Mahler, but with Zemlinsky’s own unique sonic richness. Donald Runnicles (General Music Director of the Deutsche Oper ) conducts, with powerhouse tenor David Butt Philip in the title role, in a staging by Tobias Kratzer, who makes his DO debut.
Johann Christian Ludwig Lücke , Bust of a Grimacing Man with a Slouch Hat; 1740, Elfenbein; Bode Museum, Berlin. Photo: mine. Please do not reproduce without permission.
Among the many music happenings of late which could be called an event with a capital “e”, this one has to rank near the top. Ninety-one year-old composer György Kurtág has based his first opera on Samuel Beckett’s 1957 play Endgame. Premiering at Teatro Alla Scala in November, music writer Alex Ross noted that “(n)ot since Debussy’s “Pelléas et Mélisande” has there been vocal writing of such radical transparency: every wounded word strikes home.” Director Pierre Audi and conductor Markus Stenz (chief conductor of the Netherlands Radio Philharmonic Orchestra) bring Kurtág’s painfully-birthed opera to Amsterdam for three (nearly sold-out) dates.
A new staging of a rarely-heard work by legendary opera director Harry Kupker, Handel’s 1731 opera based around Alexander the Great’s Indian campaign features the deep-hued soprano of Ruzan Mantashyan as Mahamaya and the gorgeously lush baritone of KOB ensemble member Dominik Köninger in the title role. Conductor Jörg Halubek, co-founder of the Stuttgart baroque orchestra Il Gusto Barocco (which specializes in forgotten works) makes his KOB debut. The combination of Kupfer, Handel, and Komische Oper is, to my mind, very exciting indeed.
Southern Netherlands, Screaming Woman; late 16th century; Bode Museum, Berlin. Photo: mine. Please do not reproduce without permission.
A new production of Shostakovich’s passionate, brutal, and darkly funny opera from innovative director Krzysztof Warlikowski, whose creative and thoughtful presentations have appeared on the stages of Bayerische Staatsoper, the Royal Opera, Teatro Real (Madrid), and La Monnaie (Brussels), to name a few. He also staged The Rake’s Progress in Berlin at Staatsoper im Schiller Theater. Here he’ll be directing soprano Ausrine Stundyte in the lead as the sexy, restless Lady, alongside tenor John Daszak as Zinovy Borisovich Ismailov (I really enjoyed his performance in this very role at the Royal Opera last year), bass (and Stanislavsky Opera regular) Dmitry Ulyanov as pushy father Boris, and tenor Pavel Černoch as the crafty Sergei. Conductor Ingo Metzmacher is on the podium.
Glyndebourne Festival Music Director Robin Ticciati leads the London Philharmonic and tenor Allan Clayton (so impressive in Brett Dean’s Hamlet, which debuted at Glyndebourne in 2017) as the doomed title character, with baritone Christopher Purves as the deliciously diabolical Mephistopheles, and French-Canadian mezzo-soprano Julie Boulianne as Marguerite. I love this score, a lot, and quite enjoyed a 2017 staging at Opéra Royal de Wallonie. Likewise the work of director Richard Jones, whose Lady Macbeth of Mtsensk at the Royal Opera last year afforded some very creative choices and character insights; I’m very curious how he might approach Berlioz’s dreamy, surreal work, together with Ticciati’s signature lyrical approach.
Pair of Hands from a group statue of Akhenaten and Nefertiti or two princesses; Neues Reich 18 Dynastie. At the Neues Museen, Berlin. Photo: mine. Please do not reproduce without permission.
A new production of Gluck’s opera about self-sacrificing love with a fascinating backstory: after its publishing in 1769, a preface was added to the score by Gluck and his librettist which outlined ideas for operatic reform. The list included things like making the overture more closely linked with the ensuing action, no improvisation, and less repetition within arias. Alceste came to be known as one of Gluck’s “reform” operas (after Orfeo ed Euridice). Two decades later, Mozart used the same chord progressions from a section of the opera for a scene in his Don Giovanni, which Berlioz called “heavily in-inspired or rather plagiarized.” The Bavarian State Opera production will feature a solid cast which includes tenor Charles Castronovo, soprano Dorothea Röschmann, and baritone Michael Nagy, under the baton of Antonello Manacorda.
Described on The Grange’s website as “an early Aida,” this rare staging of the biblical oratorio sees a cast of baroque specialists (including tenor Robert Murray in the title role and luminous soprano Rosemary Joshua as his mother, Nitocris) tackling the epic work about the fall of Babylon, and the freeing of the of the Jewish nation. Musicologist Winton Dean has noted the work was composed during “the peak of Handel’s creative life.” Presented in collaboration with The Sixteen, a UK-based choir and period instrument orchestra, the work will be directed by Daniel Slater (known for his unique takes on well-known material) and will be led by The Sixteen founder Harry Christophers.
The final collaboration between Kurt Weill and Bertolt Brecht (and the source of the famous “Alabama Song”), Rise and Fall of the City of Mahagonnywill be presented in a new production featuring the Philharmonia Orchestra, led by Esa-Pekka Salonen. Director Ivo van Hove (whose Boris Godounov at the Opera de Paris this past summer I was so shocked and moved by) helms the work; casting has yet to be announced. Music writer Rupert Christiansen has noted that it “remains very hard to perform […] with the right balance between its slick charm and its cutting edge.” Also noteworthy: the French premiere of Wolfgang Rihm’s one-act chamber opera Jakob Lenz, based on Georg Büchner’s novella about the German poet. (Büchner is perhaps best-known for his unfinished play Woyzeck, later adapted by Alban Berg.) Presented by Ensemble Modern, the work will be helmed by award-winning director Andrea Breth and conducted by Ingo Metzmacher. This summer’s edition of the festival marks Pierre Audi’s first term as its new Director, and all five productions being staged are firsts for the fest as well.
Sphinx of Shepenupet II, god’s wife of Amon; late period 25th Dynasty, around 660 B.C.; Altes Museum, Berlin. Photo: mine. Please do not reproduce without permission.
The Romanian composer’s 1931 opera based on the mythological tale of Oedipus is presented in a new production at the Salzburg Festival and features a stellar cast which includes bass John Tomlinson as the prophet Tirésias, mezzo-soprano as Jocasta, mezzo soprano Clémentine Margaine (known for her numerous turns as Bizet’s Carmen) as The Sphinx, baritone Boris Pinkhasovich as Thésée, and baritone Christopher Maltman in the title role. In writing about Enescu’s score, French music critic Emile Vuillermoz noted that “(t)he instruments speak here a strange language, direct, frank and grave, which does not owe anything to the traditional polyphonies.” Staging is by Achim Freyer (who helmed a whimsical production of Hänsel and Gretel at the Staatsoper Berlin), with Ingo Metzmacher on the podium.
In April 1923, Schoenberg would write to Wassily Kandinsky: “I have at last learnt the lesson that has been forced upon me this year, and I shall never forget it. It is that I am not a German, not a European, indeed perhaps scarcely even a human being (at least, the Europeans prefer the worst of their race to me), but that I am a Jew.” The ugly incident that inspired this would result in his mid-1920s agitprop play Der biblische Weg (The Biblical Way), from which Moses und Aron would ultimately spring. Essentially a mystical plunge into the connections between community, identity, and divinity, this sonically dense and very rewarding work will be presented at the biennial George Enescu Festival, in an in-concert presentation featuring Robert Hayward as Moses and tenor John Daszak as Aron (a repeat pairing from when they appeared in a 2015 Komische Oper Berlin production), with Lothar Zagrosek on the podium.
Post-opera strolling in Wexford. Photo: mine. Please do not reproduce without permission.
It’s hard to choose just one work when Wexford is really a broader integrative experience; my visit this past autumn underlined the intertwined relationship between onstage offerings and local charms. The operas being presented at the 2019 edition include Der Freischütz by Carl Maria von Weber, Don Quichotte by Jules Massenet (which I saw, rather memorably, with Ferruccio Furlanetto in the lead), and the little-performed (and rather forgotten) Adina by Gioacchino Rossini, a co-production with Rossini Opera Festival. The latter will be paired with a new work, La Cucina, by Irish composer Andrew Synnott.
A reimagining the myth of Helen of Troy (courtesy of Euripides) sees Paris seduce a phantom Helen created by the goddess Hera, while the real thing is held captive in Egypt until a long-awaited reunion with her husband Menelas. In a 2007 feature for the New York Times (published concurrent to a then-running production at the Met), music critic Anthony Tommasini characterized Hugo von Hofmannsthal’s libretto as “verbose and philosophical,” and posed questions relating to Strauss’s score thusly: “Is a passage heroic or mock-heroic? Opulently lyrical or intentionally over the top?” I suspect those are precisely the questions the composer wanted to be raised; he questions not just the tough questions around intimate relating, but ones connected with audience and artist. The piece features some breathtaking vocal writing as well. Sven-Eric Bechtolf (whose Don Giovanni I so enjoyed at Salzburg in 2016) directs, and Franz Welser-Möst leads a powerhouse cast that includes tenor Andreas Schager, baritone Thomas Hampson, and soprano Ricarda Merbeth as the titular Helena. This production marks the first time Die ägyptische Helena has been presented at La Scala.
Oskar Kallis, Sous le soleil d’été; 1917, on loan to Musée d’Orsay; permanent collection, Eesti Kunstimuuseum, Tallinn.
I freely admit to loving comédie lyrique; the genre is a lovely, poetic cousin to operetta. Fortunio, which was premiered in 1907 by the Opéra-Comique at the Salle Favart in Paris, is based on the 1835 play Le Chandelier by Alfred de Musset and concerns a young clerk (the Fortunio of the title) caught in a web of deceit with the wife of an old notary, with whom he is enamored. Gabriel Fauré, who was in the opening night audience (along with fellow composers Claude Debussy and Gabriel Pierné) noted of André Messager (in a review for Le Figaro) that he possessed “the gifts of elegance and clarity, of wit, of playful grace, united to the most perfect knowledge of the technique of his art.” This production, from 2009, reunites original director Denis Podalydès with original conductor Louis Langrée. Paris en décembre? Peut-être!
Auguste Herbin, Composition; 1928, Musée d’Art Moderne de la Ville de Paris. Photo: mine. Please do not reproduce without permission.
This list may seem extensive, but there’s so much I’ve left out — festivals like Verbier and Les Chorégies d’Orange, houses like Wiener Staatsoper and Teatro Real, outlets in Scandinavia (Den Norske, Royal Swedish Opera, Savonlinna) and Italy (Pesaro, Parma) and the UK (Aldeburgh, Garsington, ENO, and of course the Royal Opera). It’s still too early for many organizations to be announcing their upcoming (September and beyond) seasons; I’m awaiting those releases, shivering, to quote Dr. Frank-n-furter, with antici…pation.
And, just in the interests of clarifying an obvious and quite intentional omission: symphonic events were not included in this compilation. The sheer scale, volume, and variance would’ve diffused my purposeful opera focus. I feel somewhat odd about this exclusion; attending symphonies does occupy a deeply central place for me on a number of levels, as it did throughout my teenaged years. Experiencing concerts live is really one of my most dear and supreme joys. I may address this in a future post, which, as with everything, won’t be limited by geography, genre, range or repertoire. In these days of tumbling definitions and liquid tastes , it feels right (and good) to mash organizations and sounds against one another, in words, sounds, and spirit.
For now, I raise a glass to 2019, embracing adventure — in music, in the theatre, in life, and beyond. So should you. Santé!
A scene from Act III of Adès’ “The Exterminating Angel.” Photo: Ken Howard/Metropolitan Opera
(A quick note: I posted my thoughts about the Met Opera in a separate post.)
Composers like Philip Glass, John Adams, Nico Muhly, Brett Dean, and Thomas Adès, to name a few, have been instrumental in blowing the doors open on preconceived notions of opera.
The work of British composer Adès has been particularly in the news the last little while, what with his opera adaptation of Luis Buñuel’s surreal 1962 film The Exterminating Angel recently making waves at the Metropolitan Opera in New York. The film, which revolves around a post-opera dinner party during which guests find themselves unable to leave, has accurately been described as a “a surreal, black comedic-horror film.” Film critic Roger Ebert called it a “macabre comedy.” The heavily symbolic work notable for several reasons, among them, as Vulture’s Justin Davidson writes, it “resurrected the surrealism of the 1920s and anticipated the psychedelia of the ’60s.” Having seen it in film school years ago, I remember it being, by turns, hilarious, bizarre, and very unsettling.
The opera translation is no less effective. Having premiered at the Salzburg Festival last year, the opera (with a libretto in English) went on to be staged at the Royal Opera in London this past spring and, when presented in New York last month, inspired waves of strong reactions, from high praise to brutal dismissal. As classical writer Joseph So rightly noted, “(a)udiences do appreciate contemporary operas when given fine singing and thoughtful staging.” Love it or hate it, The Exterminating Angel is a work that can’t be ignored. A work based on a movie that goes back to being filmed is interesting in and of itself; what would Buñuel make of it? I wondered this at news of the Live In HD Broadcast of The Exterminating Angel. The Spanish director might, I suspect, have been very amused to have noted his film had been translated to the stage, only to be translated back to film again. The meta nature of it all is enough to make one run to the work of French theorist Roland Barthes (almost).
Frédéric Antoun as Raúl Yebenes in Adès’ “The Exterminating Angel.” Photo: Ken Howard/Metropolitan Opera
The Exterminating Angel (the opera) repeats in cinemas throughout December and January (and in Canada too) in case your saccharine silly season needs spicing up. The broadcast is not the first time Frédéric Antoun has been on the screen this year. The Quebec-born tenor appeared earlier this summer as Cassio in the Royal Opera House production of Othello, which was broadcast live (and in various repeats) internationally from Covent Garden in London.
A graduate of the prestigious Curtis Institute of Music, Philadelphia, Frédéric has an impressive resume that includes performances at Opéra de Paris, Theater an der Wien (Vienna), La Monnaie Brussels, the aforementioned Royal Opera House Covent Garden, a number of regional French houses, as well as Opernhaus Zurich, where he’ll be returning to perform early next year in Ravel’s lovely work L’Heure espagnole. Before that, he’ll be in Toronto, performing as part of the Toronto Symphony’s annual presentation of Handel’s Messiah. He has performed in works by Massenet, Mozart, Donizetti, Bizet, Verdi, and Handel; I particularly love this clip of him from a modern production of Gluck’s Iphigénie en Aulide, directed by Pierre Audi from 2011. Concert repertoire includes work by Berlioz, Handel, Schumann, and Bach, to name a few.
As you’ll hear, Frédéric is extremely familiar with the work of Thomas Adès, having already been in his operatic adaptation of The Tempest. With movie-star looks, rich-hued tenor, crisp diction, and a complete magnetism in both modern and not-so-modern productions, Frédéric is a singer to watch, both live and on the screen — either way, it’s a memorable experience.
If you are active on social media, you may have seen the recent “musical” lists going around and being shared by contacts on Facebook, in which favorites (non-faovorites as well) are revealed. An opera version was quick to follow, and I’ve been reading the lists shared by various friends (including those working both inside and outside the industry) with much interest.
Tempted to join the trend, I found (shock) my own version was a bit too long, and it just became easier (and more logical) to post here, for everyone, including my many lovely European readers.
Hopefully some of these choices inspire, amuse, illuminate; some may really raise eyebrows, others may inspire smirks. Either way, I’d love to know if any of these might prod you, good reader, into either listening or watching a work in a new way, or even experiencing an opera for the first time. I hope so! Either way, enjoy, and feel free to share your thoughts.
Opera I hate:
I find this to be such a reductive question; I don’t hate any of them. Sometimes a certain production can lead to intense dislike, even hate, and that’s a pity; sometimes, the opposite is just as true, with a smart production elevating mediocre material, illuminating and inspiring audiences (which is, of course, lovely and delightful). There are definitely a lot of mediocre works, and directors, and it’s so often a question of finding the right pairing. I don’t envy programmers at all these days, especially with the current challengesfacingtheartform.
Opera I think is overrated:
There are no overrated operas; only undercooked (or over-heated) ideas in presenting them.
Opera I think is underrated:
Two, off the top of my head (though there are many):
– Stitch, by Anna Chatterton (who I interviewed last summer) and Juliet Palmer; this is a very moving work about sweatshop workers, deceptively simple, but more timely than ever;
– L’enfant et les sortileges, by Maurice Ravel, which I saw for the first time this past winter in Berlin, in a very beautiful production at Komische Oper. It’s a whimsical work, with a very impressionistic score, and its libretto is ripe for directorial creativity. I also think it would make a great introduction for kids, though it’s rightly been pointed out that the work is more of “a musical grotesqueness for adults rather than a children’s opera.” True, but still vastly underrated.
Opera I love:
There are truly too many things I love to mention. Even with works I take issue with, I almost always tend to find something I like, or even love, and sometimes, it’s a great performer who will elevate the material (or my experience of it) from meh to marvellous.
For instance, seeing (and interviewing) Patricia Racette in the title role in Madame Butterfly at the Canadian Opera Company in 2014 really made me re-think, and thus, re-experience this work in some important ways. I still find large swaths of it troublesome, but Racette’s interpretation and understanding of the role is so great, and she so very much made it her own (and from what I’d call a refreshngly feminist place), it was like seeing the famous Puccini work for the first time. Great artists have this power.
Opera I cherish:
This feels like a personal question; the act of cherishing something implies a kind of intimacy and comfort coupled with deep gratitude. I’m grateful for every work, but things that speak to me on a personal level include Donizetti’s L’Elisir d’Amore (its tuneful score is so warm, so bright, so full of humanity), Mozart’s Le nozze di Figaro (such a gorgeous study of fidelity, authenticity, and the corners of the human heart), and Berlioz’s Le damnation de Faust — not strictly an opera in the traditional sense, but when it done right, can be very powerful, as my experience of it in Europe this past winter so wonderfully highlighted.
Guilty pleasure:
There is no such thing as guilty opera love, is there? That implies there’s a kind of snobbery within the art form about things opera fans are “supposed” to like or dislike – to hell with those rules, and that way of thinking. Pleasure is pleasure; music is music; love is love. Go listen to something you enjoy, and don’t feel ever feel guilty that it somehow isn’t cool enough for the supposed “in” crowd.
Opera I want to see revived:
In North America, it would be nice to see more Meyerbeer put onstage; his stuff is musically dense, but has intense passages of musical wonder rich with fascinating characterizations as well as great theatrical possibilities. I’d also like to see Berlioz’s Benvenuto Cellini, Puccini’s La Rondine, and the work of Hungarian operetta composer Emmerich Kálmán staged far more often on these shores.
I’ve never performed in opera, but I did act in the theater many years ago, and I particularly enjoyed Shaw’s Saint Joan, Sophocles’ Antigone, and Ophelia in Shakespeare’s Hamlet. I walked away from the stage years ago, and thankfully, found just as much value, power, and profundity in comic works as I used to see solely in tragedy. Ah, the wonderful things maturity brings.
Opera I most recently saw:
Live, La traviata recently at the Met in New York City (rundown here); on PVR, Wagner’s epic Lohengrin with Jonas Kaufmann and Anja Harteros. The latter is a very good example of the right production hitting the right emotional and intellectual notes in order to produce a whole new experience and understanding of the score. The production, from 2009 and done at the Bayerische Staatsoper, was a very modern, unusual staging (which provoked some strong reactions in the opera world); I’ve enjoyed it for a while now (this wasn’t my first PVR viewing), and I thought Richard Jones’ directorial ideas truly suited the work; his sometimes-risky concept was helped immeasurably by the utterly committed performances of its leads, who were heartbreaking and fantastic and… sigh.
Greatest opening:
A few thoughts here:
I think Verdi had some bombastically good openings musically; you can’t beat the boom-boom-bang wonder of Rigoletto or Il trovatore or La Traviata. I remember my mother always seemed as if she was on the verge of jumping out of her chair, either at the opera house or at home, whenever the opening bars of any (/all) of these was played (and that’s after the overtures). I remember her shoulders hunching up, her eyes squeezing shut, her fingers curling into fists, as the music played, and her saying, quietly, after a few moments, “ohhhhhh, Verdi….” You have to admit, heisgreat with the attention-getting openings.
For myself, I think one of the most intriguing and misunderstood of openings is Don Giovanni; it’s really not at all as clear-cut as many believe it to be; I’m really not sure Donna Anna is as pure as many have made her out to be; I know how risky that is to say, but pffffft… the music whispers, at least to my ears, that we should be questioning, completely, the scene, in and of itself, and not taking its events — or characters — at face value. I deeply like (and heartily agree with) how director Sven-Eric Bechtolf staged this, along with the entire opera, last summer in Salzburg. Read on…
Greatest ending:
I dislike the “greatest” label – I find it insultingly reductive, and taste is such a personal thing anyway — but I will say, I enjoy the ending of Don Giovanni, because, like Austen’s great novels, it ends with people who are facing a new and uncertain kind of beginning; once the title character gets dragged off (to wherever — hell is non-existence to some), everyone has to figure out how and why to live now that he – that viral, vibrant tornado of chaos — is gone.
To those who know me well, it’s not a grand secret that I really, really loved Sven-Eric Bechtolf’s staging of this opera in Salzburg last summer (a re-mount of his 2014 production); it struck chords with me in ways I still can’t quite explain – though the fact he treated the women as actual human beings with real needs went a long, long way (for me) in further appreciating and understanding this troubling work, and it all started with a very sexy opening, and closed with… more suggestion of sex, a kind of continuation of that restless, rule-breaking chaos that is both so dangerous and attractive. Mozart and Da Ponte wrote a great ending full of question marks; Bechtolf took that and ran with it. Bravo!
Worst middle of an otherwise great opera:
I really don’t like this question, because it doesn’t take into account how damn hard the writing process actually is.
Many times librettists and composers (to say nothing of writers, editors, producers, and other assorted creative types) struggle against the dreaded middle-section-sag, sometimes to no avail. This is where good directors, conductors, and performers become extra-special important (more than they already are, of course); it’s up to the creative teams (sound as well as visual) to create something special with material that develops such unfortunate (if occasionally unavoidable) sag. Find something to elevate and illuminate, for audiences, and for yourselves; I think this is the aim of many good artists past and present, to be honest, and it is worth keeping in mind when you find yourself nodding off in the middle of anything.
Greatest opera of all time:
The next one I’m going to see, of course — or that you’ll suggest to me.
(Photo: mine, link / Please do not reproduce without permission)
Is too much of a good thing really so bad?
In Salzburg last August, I was spoiled in seeing operas and concerts every day and night of my visit; I generally avoid this, as it not only hurts the brain, but robs the soul of some meaningful (and usually much-needed, in my case) contemplation, as well as necessary human connection and company. I like to sit between things and drink, write, and live: go to dinner, go to galleries, take long walks — but mostly, think, feel, absorb. Good music, well sung and presented, offers me big meal needing a slow digestion, which is best done in silence and sunshine, over wine or cocktails, with friends in lively talks, on walks through the woods with birdsong and breezes.
Alas, I didn’t get much time for any of that on a recent trip to New York City, where I saw four operas over a three-day visit, with various work-related things to complete two of the three day times. New York in winter is challenging enough; being exposed to so music, and so many ideas, presented a wholly unique level of emotional and intellectual heartburn. Then again, it was its own kind of binge, and I can’t say I’m sorry for indulging. All the operas I saw (Fidelio, Idomeneo, Romeo et Juliette, and La Traviata) left strong impressions in different ways, but what linked them all was the tremendously high quality of singing, and, in some cases, the intriguing smart approach to directing.
The Met’s revival of Fidelio, for instance (which closes tomorrow, Saturday, April 8th), was so good that I still recall (and am stopped in my tracks by) various images it presented. Beethoven’s sole opera revolves around a woman, Leonore, who disguises herself as a man to rescue her husband Florestan, who is being held prisoner by a ruthless state governor, Don Pizarro. Many people not familiar with opera will be familiar with the famous “Leonore” overture, the third in a series of pieces Beethoven wrote in his frenzy to perfect the work. I have clear memories of seeing this opera at the Canadian Opera Company decades ago with my mother, and her writing an angry letter to the company after the production did not include this overture; to her, it was sacrilege, but of course, it was difficult to convey, in a diplomatic matter, that the habit of playing it as part of an opera production (usually just before the finale) had fallen out of fashion, for logistical as well as dramatic reasons. I still think of her, and in fact, did again this trip. Jurgen Flimm’s production, however, is so smart, and the performances so very engaging (particularly sopranos Hanna-Elisabeth Müller and Adrienne Pieczonka, who I am very much looking forward to seeing in the Canadian Opera Company’s Tosca), that I honestly didn’t miss that bit of nostalgia at all. Sorry, mom.
Fidelio bows (Photo: mine, link / Please do not reproduce without permission)
Flimm, who is Director of the Staatsoper Berlin Unter den Linden since 2010 (and whose work you’ll be reading more about in a post later this spring) has placed the action of the work —traditionally set in late 18th-century Seville after the French Revolution — in immediately-post-WW2 Europe. In doing this, he uses imagery that some (especially those of us familiar with Holocaust photo documents) may find familiar; piles of shoes, for instance, along with other personal belongings, are piled into corners in the underground dungeon where Florestan is being held, the only signs of the vanished, the ranks of which Don Pizarro firmly plans his prisoner to join. Director Flimm gives a poignant commentary on the nature of power here, and how its abuse creates political discord which is expressed as a deep social malaise. Thus, relationships are given a distinct emphasis: those between employer and employee, prisoner and guard, father and daughter, husband and wife — and, more broadly, men and women. Everything is poisoned, and thus, everyone.
Nowhere was this illustrated more clearly than in the way Flimm staged the interactions between Leonore (Adrienne Pieczonka), the prison warden Rocco (Falk Struckmann), Marzellina (Hanna-Elisabeth Müller) and Jaquino (David Portillo), an assistant to Rocco at the prison where Leonore’s husband Florestan (Klaus Florian Vogt) is being held illegally by Don Pizarro (Greer Grimsley). The stark contrast between the Marzellina/Jaquino and Leonore/Florestan relationships was highlighted at the ending of the opera, which, for all its raucous joy, had a satisfyingly bitter edge, with Flimm showing the corrupt Pizarro being led to the gallows by celebrating freed prisoners, and Marzellina’s look of horror as she realizes the “boy” she’d been infatuated with was really a woman; Jaquino is intent on harassing (or rather, bullying, in the manner of his old boss) the poor girl into submission, as she drops blood-red roses across the celebratory scene. Leonore and Florestan are hoisted in joy by the happy onlookers as Robert Israel’s stark set, with its unmistakeable gallows, looms over the proceedings, a grim reminder that the happiness on display is not only fleeting, but mixed with violence, the sort that its purer form (in the form of Leonore) sought to eradicate. It is a caustic ending that offers a fantastically smart and very timely non-conclusion to what many consider to be one of the most difficult works in the operatic repertoire.
Matthew Polenzani as Idomeneo / Photo: Marty Sohl/Metropolitan Opera (via)
Less about production and far, far more about the singing in and of itself providing the drama, Mozart’s 1781 opera Idomeneo, featured a stellar cast that included soprano Elza van den Heever (whose work I so enjoyed last fall, when she performed the lead in Norma with the Canadian Opera Company) and tenor Matthew Polenzani, who is the recipient of a 2017 Opera News Award (which are being handed out in NYC this coming Sunday, April 9th). More than once during that Friday evening performance I found myself shutting eyes and throwing head back in sheer wonder at Polenzani’s marvelously emotive voice, his “Fuor del mar” in the second act a particularly heartfelt interpretation. (Sidenote: I am greatly looking forward to the revival of his Nemorino in L’Elisir d’Amore next season; expect a post about that.) Lindemann Young Artist Development Program graduate Yin Fang, who sang the role of Ilia, has a gorgeous, crystalline soprano, as well as a gracious stage presence that made her scenes with mezzo soprano Alice Coote (in a pants role, as Idamante, son of the title character) a joy to listen to. The 35 year-old production, by Jean-Pierre Ponnelle, was tasteful if homogenous — which was useful, because it allowed a pure experience of Mozart’s music, in and of itself. Maestro James Levine conducted a lustrous Met Orchestra that allowed for the score’s youthful vivacity to shine through, something the singers took full and glorious advantage of.
(Photo: mine, link / Please do not reproduce without permission)
Equally compelling was American theatre director Bartlett Sher‘s Romeo et Juliette, French composer Charles Gounod’s tuneful 1867 interpretation of the Shakespearean tale of the star-crossed lovers. The house was, I think, nearly sold out for this special closing show, which featured star turns from soprano Pretty Yende and tenor Stephen Costello in the leads. Yende is a highly watchable performer, her lilting voice as responsive and graceful as the fluters of her gorgeous Catherine Zuber-designed costumes; she shared an exceptional chemistry with Costello, whose wholly romantic rendering of “Ah! Lêve-toi, soleil!” made more than a few of the ladies around me happily sigh. Making his mark in a small but pivotal role as Frère Laurent as English bass Matthew Rose (who I interviewed recently); his authoritative bass voice expressed a wonderfully nuanced range of emotions, and that, together with the way he cleverly used his physicality (Rose is very tall), suggested a touching paternal protectiveness of the young lovers.
Last but not least on my NYC opera whirlwind trip was Verdi’s La Traviata, perhaps one of the best-known of all works, though this staging was easily one of the most modern I’ve attended. The story, about a popular, if secretly ill, courtesan who finds real love and ultimately gives it up when pressured, only to tragically die (come on, you knew that was coming), is one of the most popular works in opera, with a very famous drinking song that everyone (yes, even you) knows and has hummed to once or twice. Directed by German theater artist Willy Decker from a 2005 production at the Salzburg Festival, the set principally consisted of a massive curved wall, with an overall design aesthetic containing strong German expressionist influences. Violetta’s place as an isolated woman who craves (and survives on) male attention was confirmed and re-confirmed throughout the evening, as was director Decker’s belief that Traviata is (as he notes in the program notes) “a piece about death”; by the end I felt as if I’d been continually hit with a large frying pan labelled Big Artistic Ideas. If it all seemed dramatic and theatrical, I suppose it was meant to, wiping away any lingering memories of traditional productions involving big dresses and fans, and I was actually quite pleased the performers put their whole passion into this endeavour, offering vocal interpretations that precisely matched the strong directorial vision. Its leads —soprano Sonya Yoncheva as Violetta, tenor Michael Fabiano as Alfredo, and baritone Thomas Hampson as Giorgio Germont (Alfredo’s father) — delivered searing performances that were entirely modern and watchable, even, dare I say, cinematic, with Fabiano, especially, easily delivering, one of the most memorable (and applauded) interpretations of Alfredo I’ve ever seen; he wasn’t merely passionate about Violetta, but dangerously obsessive. The fact I found myself so impressed is, in retrospect, notable; this was one of my mother’s very favorite works, and I suspect I have seen it now many hundreds of times. I also suspect she would have, in her infinite Verdi wisdom, been as gaga over the performances as I was.
The set of La Traviata (Photo: mine, link / Please do not reproduce without permission)
La Traviata continues at the Met to April 14th, with Carmen Giannattasio as Violetta, Atalla Ayan as Alfredo, and, starting tomorrow night (Saturday, April 8th), Placido Domingo as Giorgio Germont. Go! Andiamo! You may not agree with all of Decker’s creative choices, but I guarantee you will come out with at least one strong image from this production seared into your brain (never a bad thing, ultimately), and with the brindisi — as vibrant a piece of music as ever — still ringing in your ears.
2016 has been a terrible year. Between the loss of great cultural figures, a dramatically changing political landscape around the globe, and wars that feel tragically endless, it’s been a tough year for many to navigate, accept, or even survive.
However, I keep being struck by the strange reality that it’s been, on a strictly personal level, a really great year — especially when compared to my 2015, a year that was filled with loss, trauma, and horrible disappointments. 2016 was a year of discovery, delight, wonder. Sometimes it was hard to gel the beauty on a micro level with the hideousness on a macro one, but, to quote William Congreve, “music hath charms to soothe a savage breast, to soften rocks, or bend a knotted oak.” I saw a lot of great stuff this year; rocks were softened, oaks were bent, breasts were soothed — when not heaving in awe, a la Dangerous Liasons, that is.
Culturally, this was a good year in so many ways, but it was equally notable for being the first full music season I’ve experienced without my mother. I feel like she was with me throughout many, if not all of my travels, near and far, through good times and sad times and everything in between. I saw her make faces at some things, throw back her head and laugh at others, and clasp her hands in delight at yet more.
In the spirit of those hand-clasping moments, I present to you some of my favorite live music things from 2016. I confess I wasn’t actually planning to write about any of this; considering I write about and review music for a living, I want some of my own music-going to stay private and personal, free from analysis or too much thought, to live purely in a world of experience. I’ve found, however, that trying to turn off my critic’s brain is impossible. My mother would frequently admonish me, after a night of the opera and discussion, for “thinking too much.” I’m certainly guilty of this in more than the arena of music, but, I’ve learned over the last year to absorb more and analyze less, while still firmly embracing my thinky side; context matters, and insight is never a bad thing. I plan to continue cultivating my music love into 2017 and beyond, as you might guess.
Without further ado, here are my favorites from the year that was.
(Michael Cooper / COC)
1. Siegfried, Canadian Opera Company; January
Richard Wagner’s epic work, written between 1856 and 1871, is the third part in the composer’s sprawling four-work Ring Cycle. Remounted by the COC (from a 2006 production) as a kind of surrealist nightmare, director Francois Girard dramatized elements inherent within the complex score to eye-catching effect. With tenor Stefan Vinke as a hero free of macho qualities but still very much in the throes of petulant youth, his was a performance that moved between lost, amiable, and enlightened, with the vocal agility to match. Michael Levine’s vivid stage design featured, in its first act, a tangle of branches rising above the hero’s head, a kind of physicalized thought bubble; later, a fiery hole with undulating hands housed the angry dwarf Alberich (a stentorian Christopher Purves), while Fafner, the giant-turned dragon, was staged with a pyramid of men and some very great choreography (by Donna Feore) and clever, intuitive lighting (by David Finn).
These elements, together with a unique “tree” threaded with bodies in its stark branches, and white-clad figures bathed and swaying in red light, produced an incredible vision of hellfire, damnation, temptation, and salvation. Wagner’s musicality was seamlessly integrated with the Ring’s inherent theatricality, and, together with some inspired singing (Vinke’s duet with Christine Goerke’s spitfire Brunnhilde was truly magical), worked to produce a hauntingly beautiful vision of Wagner’s mythological world.
(Ken Howard / Metropolitan Opera)
2. Manon Lescaut, Metropolitan Opera; February
This production is included purely for the singing; I found Richard Eyre’s production silly and filled with what the New York Times rightly termed “troubling questions.” But Roberto Alagna, as des Grieux, and Kristin Opolais, in the title role, made music magic, the French tenor showing particular skill as he quickly substituted for an ill Jonas Kaufmann. Despite being ill with a cold himself on the day I attended, his was a thrilling, vivid performance, beautifully complemented by a luscious rendering of the score, thanks to Maestro Fabio Luisi. The women around me may’ve been sighing over Jonas’s absence, but to my ears, Alagna’s sonorous tenor was perfectly suited to Puccini’s rich-as-fudge score, and it was a treat to experience such an exquisite pairing, so beautifully executed.
Opolais, who’d already sung Manon opposite Kaufmann at the Royal Opera in 2014, brought an anguished drama to the role, and she and Alagna shared an electrifying chemistry, one that carried through (indeed, paraded over) Eyre’s bizarre staging. As New York Classical Review’s Eric C. Simpson noted, “When left alone, the principal actors were in fact able to carve stunningly real portrayals.” This was one of those special performances with such incredible lead performances, and conducted with such a charismatic mix of passion and majesty, I actually forgot the dire production — at least for a while. Impressive.
(Michael Cooper / COC)
3. Maometto II, Canadian Opera Company; April
Italian bass baritone Luca Pisaroni channelled silent film star Rudolph Valentino in a remount of a 2012 production from Santa Fe Opera. Director David Alden made effective used of the carefully wielded elements of dance and design (including a strong, expressionist-influenced color palette by designer Jon Morrell) to bring Rossini’s 1820 opera to vivid, stunning life. The title character’s dramatic entrance (which happens no less than fifty minutes into the opera) was impressively cinematic, and certainly a strong announcement of things to come in terms of Alden’s passionate approach to the material, to say nothing of the performers.
This was some of the finest singing I’ve ever heard at the Four Seasons Centre, bar none. Pisaroni’s full, rich bass baritone, his careful, loving attention to detail and controlled, luscious vibrato was matched by soprano Leah Crocetto’s Anna, who nimbly showcased a vivid coloratura as well as sweet timbre with a firm undertone that’s perfectly suited to the various shades of the character. Mezzo soprano Elizabeth DeShong, in the trouser role of Calbo was, in a word, shattering; the sustained applause at the end of her aria convincing Anna’s father of her innocence deserved every hearty “bravo” it received. David Laera’s sensuous choreography, especially the sinewy, swirling bellydancer who featured in the production’s second half, made for a gorgeous opera experience.
(Darryl Block)
4. A Little Too Cozy, Toronto; May
Against the Grain Theatre lived up to their name, going entirely… well, against the classical music grain in presenting Mozart’s Cosi fan tutte as a reality TV dating show, in an actual TV studio. The company, known for their unorthodox presentations of classical works, transformed the opera and its rather silly libretto into something relevant, smart, funny, and even moving. Was it Mozart? Was it opera? Yes and yes — and it was brilliant. Phone use and hashtags (#TeamDora, for instance) were actively encouraged throughout the performance. Seamless integration, between new and old, classical and contemporary, is AtG’s speciality, and they’re leading the way in reinterpreting opera for the 21st century in Canada.
It wasn’t only the premise that reeked of forward-thinking, risk-taking innovation; the actual performances were fun, knowing, and awfully familiar. Cairan Ryan’s smarmy game-show-host Donald L. Fonzo (Don Alfonso), did a charming buffo baritone, and was complemented by a very engaging, social-media-knowingness from the ensemble, comprised of tenor Aaron Shepppard (Fernando), baritone Clarence Frazer (Elmo), soprano Shantell Przbylo (Felicity), mezzo soprano Rihab Chaieb (Dora), and soprano Caitlin Wood (Despina). Smart, engaging, fun — A Little Too Cozy epitomized all the things indie opera is nudging grand opera toward, slowly if surely.
(my photo)
5. Filarmonica della Scala, Salzburg Festival; August
Riccardo Chailly led a masterful performance from the Filarmonica that only moved past the workmanlike and into the poetic in the event’s second half. Cherubini’s Overture in G Major and Symphony in D Major were, to my ears, strangely lacking in momentum and buoyancy; it was good, but not great, and certainly not what I expect from Chailly, whose work I’ve enjoyed (and seen) for many years. But, with Verdi’s divertissement of “Les Quatre Saisons” (the Four Seasons) ballet music from Les Vepres siciliennes (the pre-1861 version, later Italianized), the orchestra came alive, delivering a poetic performance that caught the small, quiet corners of the piece, and shone a gentle light that gradually became a shining beacon. The choice of placing the overture to Rossini’s Guillaume Tell at the program’s end was inspired too, with the famous piece providing a bouncy, boisterous close, if not conclusion, to the evening; the encore was an utterly thrilling performance of the overture to I Vespri Siciliani. I confess to sitting on the edge of my seat throughout its entirety.
Chailly is a fascinating figure to watch, his statesmanlike demeanor barely concealing a blazing fire, one he beams into orchestra members who spit it back in short controlled bursts or long, lean lines. I’d love to hear the Filarmonica play an evening of overtures; not only do they tell stories with their singing instruments, they conjure deep emotional states that move past the verbal and into the realm of the transcendent, rather like another orchestra…
(my photo)
7. Berlin Philharmonic, Toronto; November
… yes, this one. The famed Berlin Phil embarked on a tour through North America this past autumn, showcasing the work of Mahler, Schoenberg, Webern, Boulez, Berg, and Brahms. Sir Simon Rattle was particularly interested in drawing sonic connections between them all, and he did a marvellous job of that, and much more, on the night I attended, with a program featuring Boulez’ Éclat and Mahler’s Symphony No.7. With just fifteen players, Boulez’ sparse if powerful work showcased the various reverberations of the instruments being used (especially piano) and the complex, nuanced harmonies therein. Intricate attention was paid to color and shape, with Rattle coaxing a quietly intoxicating drama that revealed its composer to be the logical inheritor of Mahler’s sonic explorations.
Like the Boulez, Mahler’s 7th makes use of the guitar and mandolin, though with very different effect. This was bold, passionate playing from musicians clearly happy to be there and clearly in love with the work and their conductor, who managed to seamlessly connect the six movements of Mahler’s notoriously lengthy work into one perfect, poetic thought. Seriously, you had to be there. Vunderbar.
(my photo)
6. Stefano Bollani, at Koerner Hall / with the TSO and Gianandrea Noseda; November
The Italian jazz pianist moved easily and confidently between the worlds of classical and jazz during his visit to the city last month, interspersing appearances playing Ravel’s famed Piano Concerto in G with an evening of jazz (original compositions and more) at Koerner Hall. Musicality positively oozes from this man; his improvised introduction to the Ravel with the Toronto Symphony Orchestra (clearly unnerving to much of the Toronto audience) was full of characteristic playfulness and verve, while his loose interpretation of the Ravel brought all the whimsy and joy and pure musical curiosity that can sometimes go missing (or not be fully committed to) with more formal classical music performers. His connection with Noseda was also unmistakable, and it was fun to watch the two silently communicating, an invisible if entirely recognizable current of energy running between them. In addition to the playful Ravel, Bollani also performed a beautiful, improvised solo version of Leonard Cohen’s “Hallelujah” as an encore.
Experiencing Bollani do jazz one night and classical the next, I sensed a beautiful kind of sonic continuum and again, an unmistakable joy in simply making beautiful sounds. Amen and bravo, Stefano! Torna presto!
(my photo)
8. Macbeth, Los Angeles Opera; October
Many people have suggested at some point or another that Placido Domingo might want to consider retiring. Yet when all the elements are in place (as with Nabucco, currently on at the Met), there’s just something undeniably powerful about the tenor-turned-baritone; when he turns it on… the hairs on the back of your neck stand up. I went to Macbeth not expecting to be moved; I went for more sentimental reasons, to see a living legend who I had not seen live since 1993, at the Met in Verdi’s Stiffelio. The times I’d heard him as a baritone (so-called “baritenor”) I’d not been terribly impressed… and yet I found myself won over. Despite the layers of makeup and wigging, Domingo used his age and experience to fuel his characterization, and though the voice is grainy, it is still powerful, resonant, and undeniably exciting. His Scottish king wasn’t a sullen brat at all, but a capable, smart army man who resented been passed over one too many times. His scenes, particularly with a wonderfully fiery Ekaterina Semenchuk as Lady Macbeth, were filled with rage, regret, and finally even, remorse. This was very special, and very worth the trip to LA Opera. I’ll be back.
(Dahlia Katz)
9. Naomi’s Road, Toronto; November
Tapestry Opera presented a timely vision of Joyce Kogawa’s novel about her experiences growing up in an internment camp during the Second World War. Originally conceived and directed by Ann Hodges, with sets and costumes designed by Christine Reimer and built by Vancouver Opera, Tapestry Artistic Director Michael Mori’s Toronto presentation presented a simple, powerful show (without intermission) in a local neighborhood location loaded with historical meaning; St. David’s Anglican Church is the home of the last Japanese-Canadian Anglican parish in Toronto. The fact there was (and is) talk of internment camps in the news lately made this work all the more poignant, of course, but also brought with it an urgency that added to its quiet theatricality.
The production poetically integrated design, theme, and musicality that spoke softly if powerfully. With just one pianist and four exquisitely talented singers, including mezzo soprano Erica Iris, who made an incredible transformation from imperious older woman to girlish bully, a switch which was both vocally and theatrically thrilling. Entire worlds were created and explored with grace, economical elegance, and deep sensitivity. This was easily the most humble production I saw this year; it was also one of the most memorable and important.
(Ken Howard / Metropolitan Opera)
10. L’Italiana in Algeri, Metropolitan Opera; October
Straight up, this was the most fun thing I saw this year; it had laugh-out-loud moments and a boisterous, bright Met Orchestra led by Maestro James Levine. Rossini’s comic opera revolves a kind of comic, sitcom-like face-off that masquerades about being between East and West, but is really about men and women. Jean-Pierre Ponnelle’s 1973 production is full of the kind of cliches that make you both laugh at their preposterousness and wince at their overuse. As New York Times classical writer Corinna da Fonseca-Wollheim noted, “this battle of the sexes, framed by Rossini and his librettist as an abduction drama, may be the silliest and most stereotype-laden production in the Met’s repertory. But it’s still very funny — irresistibly so, as I found out.”
I’m on the fence about whether or not some of those tacky old costumes need to go; there’s a line between funny and tasteless, and I’m not sure that those those very deliberately fake-looking, hairy-Muslim-dude ones are entirely worth keeping. Sure, we can laugh because they’re preposterous and tasteless, but… they’re still preposterous and tasteless. They do, however, fit with the overall feel of the work itself, which is exaggerated, ridiculous, and extremely smart about presenting its true conflict as crazy comedy gold. Mezzo soprano Marianna Pizzolatti (a last-minute replacement for the ailing Elizabeth DeShong) was sprightly, funny, feisty, and highly watchable as the “Italiani” of the title, Isabella, and was beautifully complimented by a buoyant Met Orchestra under the baton of Maestro James Levine. To quote George Grella’s New York Classical Review piece, they handled Rossini’s bouncy score with a “crisp phrasing and a glinting sound.” For all my reservations over some costume designs, I still came away from this one smiling.
11. Faust, Salzburg Festival; August
Gounod’s famous 1859 opera got a modern treatment at the festival, with the immensity of the Grosses Festspielhaus being used in some marvellously creative ways by director/designer Reinhard von der Thannen. A meditation on nothingness – even the opening scene featured a neon “Rien” sign — this was an existentially-themed vision with cleverly integrated elements of commedia dell’arte and surrealism. It also featured entirely zesty onstage chemistry between tenor Piotr Bezcala (Faust) and bass baritone Ildar Abdrazakov (Mephistopheles), both in very fine voice; Beczala’s silvery-toned tenor and Abdrazakov’s cherry-chocolate bass not only made beautiful music together, but nicely channelled the drama within both Gounod’s score and von der Thannen’s vision, bringing the high-minded ideas behind the production to a recognizably human level. Still, the production itself was truly special. As philosophy professor Mirjam Schaub wisely notes in the excellent program essay,
Standing in opposition to the RIEN, of course, is a very substantial SOMETHING: the stage space. It is entirely white, impersonal, functional, open for light of all colours and at the time itself a non-colour.. […] That the stage space of Grosses Festspielhaus is somewhat CinemaScope-like in format is a factor very congenial to von der Thannen’s commanding and spatially expansive vein of fantasy.
No kidding. I’d love to see it at the Met; I suspect it would effectively carry to anywhere in the house. The bright design scheme, creative use of white space, glittering costumes, Giorgio Madia’s sinuous, kinetic choreography, combined with stellar singing and some very neat makeup effects made for a truly eye-opening and riveting Faust. Salzburg, traditional? Nein…
12. Don Giovanni, Salzburg Festival; August
… which segues nicely to my final selection. Don Giovanni is one of my favorite operas, but I’d never seen a production that vaguely satisfied me. Despite the exquisite score and fascinating characters, I always tended to walk out of any and every production feeling angry, frustrated, and utterly repulsed by the title character.
Then I saw Sven-Eric Bechtolf’s production at the Salzburg Festival; it was wickedly smart, truly moving, and funny. Imagine, a Don Giovanni that takes the comedy seriously — not as a pastiche or a collection of tacky, crude jokes, but rather, trusts the talents of its performers so deeply that it allows them to find their own comical moments, for themselves and with cast mates. This production was, quite simply, one of the most magical things I’ve ever experienced in an opera house.
Luca Pisaroni’s Leporello, for instance, was equal parts Jerry Lewis and Roberto Benigni, eminently comical and yet somehow relateably human. His was both an hilarious and touching portrait of a perennial wingman who fully realizes that, while he’d love to take the pilot’s seat, he is, at heart, not cut out for it. His interpretation of “Madamina, il catalogo è questo“ (the so-called “catalogue aria”) was the very best I have ever heard, filled with smart pauses, crisp diction, and a lively vibrato. Alain Coulombe brought cool authority and a quiet confidence to his portrayal of the Commendatore, a man clearly 180 degrees away from Giovanni, in both real and theoretical senses; he was order to the Don’s chaos, a minor key to his major; a firm, brief handshake instead of a warm, lengthy hug.
Physicality was, in fact, a very big part of this production, and Layla Claire threw herself into this aspect with bravado, giving the very best interpretation of Donna Elvira I’ve ever seen — wounded, but not at all simpering, and every bit as passionate and complex as Carmelo Remigio’s sexy Donna Anna and Valentina Nafornita’s feisty Zerlina, not to mention any number of maids in Bechtolf’s hotel-lobby-set production. All were agents of their own fate, each seeking a liberty (mental, emotional, particularly sexual) for themselves through the figure of this man they all want to possess, or be possessed by. It was hugely refreshing (and liberating) to finally see a Giovanni in which the women have agency, and to see not only them, but the main character freed from the their tidy, boring, cliche-ridden boxes of yore.
That theatrical approach, of course, made the title character fascinating and endearing in place of being smarmy and nauseating. It was so good to see a production — and a central performance — so firmly committed to breaking cliches while milking and gleefully mocking them at the same time. Ildebrando D’Arcangelo was, by turns, funny, sexy, hateful, annoyed, prideful, world-weary — in other words, warmly, defiantly human, which is impressive on its own, but doubly so for someone who’s performed the role numerous other times in numerous other productions, but here was very much playing an idea (“Viva la liberta!“), as Bechtolf’s smart program essay indicated. A key part of this characterization was, of course, vocal prowess: D’Arcangelo’s is a wonderfully agile voice with watchful subtlety in its upper tones, an unforced richness in low ones, a beautifully mellifluous vibrato with a mahogany-hewed timbre, and a nuanced approach to some well-known material (his “Vieni alla finestra” was easily the most perfect I’ve ever heard), and… well, to return to Congreve, oak bends, rocks soften. You figure out the rest.
That’s the year that was. Just to make the circle complete, Sven-Eric Bechtolf is set to direct Stefan Vinke in Siegfried at the Vienna State Opera in May. Am I going? You’ll have to wait and see. That Oscar Wilde quote about temptation, so relevant to Bechtolf’s Don Giovanni, could very become relevant to my life in 2017. We shall see; I am keeping an open mind, and looking forward to more adventures.
