The COC 2019/20 season was revealed last night at the Four Seasons Centre. I liked the set up this time. A brief introduction from Alexander Neef, an overture and then a well scripted narrative, read by William Webster, describing the works in turn within the theme of “Once Upon A Time”, with a performance of one number from each opera. And so, what do we get:
Puccini – Turandot – September 28th to October 27th 2019 – 9 performances.
This is the Robert Wilson production from Madrid. Tamara Wilson and Marjorie Owens share the title role with Sergey Skorokhodov and Kamen Chanev as Calaf and Joyce El-Khoury/Vanessa Vasquez as Liu. Carlo Rizzi conducts. I’m not a huge fan of Wilson’s elegant but static productions but I could see it working for Turandot. I’m told the usual Alfano completion will be used.
I guess Verdi’s Nabucco is even more closely associated with the Risorgimento than his other works so it’s not perhaps surprising that, for his 2017 production for Verona, Arnaud Bernard made the connection explicit. We are in Milan during the Five Days. La Scala; which does duty as the Temple, the Hanging Gardens and itself, stands in the middle of the huge performance space of the Arena di Verona. Italian and Austrian soldiers, including cavalry, ride around the arena or clamber over the terraces. It’s wild and spectacular but it’s more than that.
Dmitri Tcherniakov is an interesting and controversial director. He’s not afraid to take a very radical approach to a work and that method tends to produce uneven results. At it’s best, as in his Berlin Parsifal, it’s extraordinary and sometimes; his Wozzeckfor example, interesting but perhaps not exactly revelatory, and,again, sometimes; as in his Don Giovanni, polarising. That said he never does anything merely to shock or show off. There’s always a logic to what he does and that’s certainly true of his quite radical version of Verdi’s Il Trovatore filmed at Brussels’ La Monnaie in 2012.
VOICEBOX:Opera in Concert announced their 2018/19 season last night. There are three main stage shows. Two of them, alas, I can’t muster much enthusiasm for; Massenet’s Werther (November 25th 2018) and Schubert’s Fierabras (February 3rd 2019). The first features Goethe’s version of Fotherington-Thomas and the latter is one of the most confused and implausible messes ever to “grace” an opera stage. I’m much more up for the third show; Weill’s The Rise and Fall of the City of Mahagonny (March 30th/31st 2019). No details on casting or anything else but I assume the first two will be piano score and the last a chamber ensemble. There are also two shows at Gallery 345; Little Mahagonny: a Tribute to Weill (September 25th 2018) and Viva Verdi (April 3rd 2019).
David Pountney is rarely afraid of taking risks in pursuit of an idea and that seems to be what’s going on in his 2008 Wiener Staatsoper production of Verdi’s La forza del destino. The basic concept seems to be to draw as much distinction as possible between the piece’s predominantly dark tone while making the ‘scherzo’ like elements as mad as possible. And occasionally mixing up the two to create deliberate confusion. To this end he uses a lot of moving set elements and projections; often fuzzily superimposed on stage action. Preziosilla and the camp followers are hot pants clad cowgirls. The full effect is seen in the Act 3 “orgy” where hospital patients, some on drips etc, interact with cow girls and a marching band while giant fuzzy B&W projections of WW2 armour play on the scrim. It’s really busy and takes some decoding.
In 2015 the Metropolitan Opera premiered a new production of Verdi’s Otello directed by Bartlett Sher. It was broadcast in the Met in HD series and subsequently released on Blu-ray and DVD. It’s a bit hard to judge the production on video because of the video direction. I don’t think there are any big ideas but it’s decorative enough with arrangements and rearrangements of plexiglass wall/rooms and some effective video projections for things like the storm scene. Only Act 4 breaks the mould with a sparse stage with just a bed and a few chairs. I strongly suspect though from the occasional wide angle shot that there was a lot more going on visually than one sees on the video. Costumes are 19th centuryish and quite decorative.
I’m usually a bit leery of watching older recordings of 19th century Italian opera. The aesthetic is rarely my thing. But, when I came across a recording of Verdi’s Giovanna d’Arco directed by Werner Herzog I had to take a look. It was a pretty weird experience. It would hardly have been odder if Klaus Kinski had sung the title role. It’s a production from the Teatro Communale di Bologna and it was recorded in 1990.