Category Archive: Opera
Ariadne & Theseus at the Mortlock Chamber
Picture courtesy of Dr Daniela Kaleva
To the Mortlock Chamber in the State Library of SA, to hear L’Arianna abbandonata e gloriosa and Lamento d’Arianna (1608), works reconstructed from Monteverdi’s fragmented scores, with solo voice and harpsichord, accompanied by the odd stage effect to evoke waves crashing on lonely Naxos, where (failed Argonaut) Theseus has parked Ariadne to show his gratitude for her help surviving the labyrinth on Minos. This paring away eschews the go-for-baroque approach that could overwhelm the purity of the harmonics, which are quite reminiscent of Purcell’s Dido pieces…
Continue Reading →Carmen – PC? 22/11/14
The WA Opera has achieved fame – no, sorry, infamy – by censoring smoking from its production of Carmen. This due to pressure from their new sponsor, Healthway, an independent statutory body reporting to the WA Minister for Health, which according to its website “provides sponsorship to Sports, Arts and Community organisations to promote healthy messages, facilitate healthy environments, reduce the promotion of unhealthy messages, and increase participation in healthy activities … key priorities for Healthway are reducing harm from tobacco, reducing harm from alcohol, reducing obesity and promoting good mental health.” In view of this, we assume WA Opera…
Continue Reading →Tristan und Isolde
Beware matchmakers. Beware writing opera when in lust with Mathilde Wesendonck. Beware love-of-death; it leads to the death of love, or death-porn. Wagner must have seen himself as Tristan to Mathilde’s Iseult, Lancelot to her Guinevere, when he shelved the Ring and forged perhaps the most beautiful opera of all. T & I poses a number of problems. Its staging should be spare yet lush. It requires a measure of taste and discretion, for Wagner wrote this work while well-unzipped (he expected the work to be censored unless it was played as parody) and the material can stray dangerously near…
Continue Reading →Tosca
Callas wouldn't cop Spoletta
(Melbourne, 2010) What on earth were alleged professionals thinking with this? A set from Rebus or The Wire and a finale where Floria, rather than hurtle over the parapet, has her brains blown out by Spoletta? It is such textual vandalism that renders Joseph Kerman’s sneer (a ‘shabby little shocker’) as true. Grumbles with setting and textual vandalism aside, Nicole Youl was a fine leading lady and the incomparable John Wegner a formidable, ferocious and frightening Baron Scarpia.
Continue Reading →Der Ring Des Nibelungen
(Melbourne, 2013) As Barry Millington observed, it’s “the story of a man who buys a house and can’t keep up the payments.” But it is so much more of course. The greatest music-drama yet concocted was staged by Opera Australia in late 2013, as well as could be done outside of one’s own head (save for Adelaide 2004). At the cycle’s end, you had the same feeling as when leaving the Sistine Chapel – that of awe and exhaustion. It was directed by Neil Armfield, conducted by Pietari Inkinen. Kudos all round.
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