I’ve become a little wary of operas based on best selling novels and/or Hollywood films so I approached Charles Wuorinen’s Brokeback Mountain with a certain amount of skepticism. I should not have. It’s a Gerard Mortier commission; originally for NYCO but, following that débacle, it followed him to the Teatro Real in Madrid where it premiered in 2014. The libretto is an adaptation by Annie Proulx of her original story. Always a good sign.
If you have ever wondered why a slapstick comedy is so called then look no further than Gilbert Deflo’s production of Prokofiev’s L’Amour des trois oranges recorded by L’Opéra de Paris in 2005. There’s a great deal of smacking with sticks; most of it by Barry Banks who gleefully whacks just about any bottom, male or female, that comes within range. The production is also slapstick in the generally understood sense of broad physical comedy. There are elements of commedia del arte and lots of circus; jugglers, clowns, fire swallowers, all wrapped up in a sort of 20s vamp aesthetic. It’s wildly chaotic in a rather fun way though it’s all a bit overwhelming and probably worked better in the theatre than on DVD.
The Opéra national de Paris 2005 production of Mozart’s La Clemenza di Tito is very fine. Ironically it’s actually quite a conventional production overall though one scene, the one where Tito makes his first appearance, is so weird that it provides the generic name used in some circles I frequent for an entirely inexplicable production element (see below).