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SEEN
AND HEARD OPERA REVIEW
Opera North on Tour:
The Lowry Theatre, Salford Quays. 13 – 17. 11. 2007 (RJF)
Robert J
Farr
Giacomo
Puccini :
Madama Butterfly
Giuseppe Verdi :
Falstaff. (1893)
Reinhard Keiser :
The Fortunes of King Croesus
Opera
North enter their second full touring year since the refurbishment
and update of their home theatre and rehearsal facilities in
Leeds. This first tour of the year features a revival of Peter
Relton’s direction of Verdi’s Falstaff, first seen in 1997,
and two new productions, Puccini’s ever popular Madama
Butterfly and Reinhard Keiser’s The Fortunes of King
Croesus, a British premiere. In my
preview of the company’s 2006-07 season, I expected that
the producer Tim Albery would have a big impact on Opera North’s
year since I greatly admired his production of Katya Kabanova
seen at the Lowry during the company’s summer tour (Review).
He seems to have the happy knack of moving date, and sometimes
circumstance, in his productions without destroying the essence of
the composer’s intentions while getting to the kernel of the plot
and bringing out the dramatic emphases. It turned out that these
were prophetic words in respect of his treatment of Puccini’s
opera: this was a production of overwhelming impact.
It is
Puccini’s Tosca that is often described as a shabby little
shocker but the words are more apt still for Butterfly.
It's an unwholesome story of a Yank who buys sex from a virginal
Japanese fifteen year old with empty promises and a mock marriage
to which he explicitly, even to his Consul, states as being
non-binding. Butterfly herself takes his religion, forsaking her
own, along with her family who have an honourable past but
have fallen on hard times after the death of the father who chose
suicide as an alternative to dishonour. Before the start of the
performance, and during the prelude, the cultural gulf between
traditional Japanese values and twentieth century American is
played out in mime on stage as a geisha in traditional dress, and
with small steps, moves among some American floozies, or
tarts, in high heels and fishnets making up in front of mirrors.
After the so-called marriage, Butterfly herself adopts the high
heels and a floral dress whilst her maid, Suzuki, in the rather
fey manner of one who can see an unhappy outcome, maintains her
dress and religion. The marriage broker is in late twentieth
century garb and is played as a bit of a sharp boy. In contrast,
Butterfly’s family at her wedding, and later her princely suitor,
all dress traditionally reminding the audience of the clash
of cultures, idealism and morality. There is no attempt to soften
Pinkerton’s immature laddish and caddish approach to the whole
matter. In this production he does not get the Act I aria which
Puccini added to soften the impact of his hedonistic character,
but reverts to the original first night score that was a fiasco -
after which Puccini withdrew the work for revision. The first
night audience at La Scala lived in an era before the nasty face
of imperialism and the original story was too harsh for
their sensibilities. Using the original scoring also means
an enlargement of Kate Pinkerton’s role. She is the proper
American wife Pinkerton brings to persuade Butterfly to forego
their child for a better life. But, his action in trying to pay
Butterfly off - not even by himself but via the proxy of the
Consul - is a vicious insult to Butterfly’s integrity. It
tips her over the edge as she realises her destiny. She returns to
traditional dress, and in the Shinto shrine used by Suzuki
throughout, she stabs herself.
Albery’s staging contains many felicitous details. The balletic
choreography of the spreading of flower petals to welcome the
returning Pinkerton was elegant and joyous and contrasted sharply
with the lead up to Butterfly’s suicide which was
particularly poignant, even harrowing. The American floozie
arriving to look, uncomprehendingly, at the dead Japanese was
perhaps a vicious step too far although it brought the mime of the
opening full circle. Even so, the ending was musically and
dramatically harrowing enough and few dry eyes were left in the
full house. Albery’s staging takes place in Hildegard Bechtler’s
evocative and apt set containing moving screens and a
picture window view of Mount Fujiyama. This production and set,
unlike last year’s Rigoletto, are good for many a year without
recourse for replacement; sound economic sense as arts funding
look tenuous as we approach the cost crisis of the 2012 Olympics.
The
title role of Butterfly is sung by Anne Sophie Duprels who
was Violetta in Opera North’s 2005 La Traviata. Her
slightly tremulous voice is now significantly fuller and capable
of a full palette of colours, a wide dynamic range and great
vvariety of expression. She made no foolish attempt to sound
girlish, as several famous interpreters have done on record. She
is also capable vocally of riding the orchestra when Wyn
Davies let it off the rein in Puccini’s moments of denser and
typically coloured orchestration. Add the sincerity of her acting,
never once forgetting whether she was a Japanese or a would-be
American and hers is a considerable achievement. It's a
strong step forward in her career.
Not as svelte now as when I heard him as Ernarni at the Royal
Northern College of Music in 1994, Rafael Rojas is a favourite in
the Italian big lyric roles both with Opera North and Welsh
National Opera. Then as now he tends to sing full out and with
little attempt at graceful phrasing. Bereft of Pinkerton’s aria,
Rojas had really only the love duet in Act I to show off any tonal
grace and by then Pinkerton has other matters on his mind.
Albery’s having Pinkerton light a fag at every tense, or
procrastinating moment, was another nice touch played well.
Rojas’s Pinkerton was a thoroughly arrogant and unlikeable Yank
with no redeeming feature. There were even some hisses at this
curtain call - not for Rojas’s singing, but for the character, and
he took this in good part. This response was doubtless aided by
the presence of English subtitles to the sung Italian which left
the audience fully aware of everything going on in the opera. But
I hope O.N. audiences won't always adopt habits like this:
in general they are commendable in the interruptions to the drama
for applause and the like, being supportive and never
impeding the flow of the drama.
Peter Savidge’s lean toned singing as Sharpless could have gained
from more colour and expression. However, he did his best to
portray the better side of the American persona. His
eveident respect for the culture of a foreign land as he
removed his shoes on entry to Butterfly’s home, even when she put
on her high heels to welcome him, was another production touch I
admired, even though the shoes were flip-flops covering
white socks, and which grated! Ann Taylor’s Suzuki was a
model of acting with her sonorous mezzo a little underpowered from
time to time. In this she suffered, as did Amanda Echalez as Kate,
when Wyn Davies let the orchestra hit the climaxes. Otherwise his
conducting was idiomatic. The Goro of Alasdair Elliot was also
notably well portrayed.
The full house at the first night of this Butterfly
was matched at the second performance, with not a seat to be had.
The same cast are reprising the work during Opera North’s winter
tour which arrives at The Lowry on 12th February next.
Those disappointed this time had better get their tickets booked
soon as performances are already selling well. The production
stands alongside last year’s Grimes which went on to win
hearts and prizes and which is being reprised between the two
performances of Butterfly. Whether this Butterfly will win
similar awards only time will tell but it deserves them. It is by
far the best production of the work I have seen in over fifty
years of opera going.
Second up in the tour was Verdi’s final opera, Falstaff.
Sung in English it was a return visit of a production first seen
in
Manchester
in March 1997 and this time directed by Peter Relton. Then as now,
I found the sets for Act III lacking in character and atmosphere.
Yes, the swift move from the outside of The Garter Inn to
Windsor Park is slick but, I did not find either scene
really able to portray the action. There is no dripping Falstaff
outside the inn and no Hermes oak; wintry trees and snowballs are
no substitute. Given that the audience had to suffer the
distraction of a signer, it is a pity that for those who
would have benefited from them, there were no surtitles. I know
that the performance was sung in English, but Verdi’s
quickly fluttering and scampering melodies and few formal arias do
not lend themselves to easy translation. The prosody of the music
and the Italian are a perfect match and surtitle words do
allow all the meanings and nuances to be clear to the audience
throughout this opera.
In
its first life ten years ago, Andrew Shore was Falstaff, and
Robert Hayward sang a strong Ford. This time round Hayward took on
the title role. In between he has moved on to sing Wagner’s great
bass baritone roles for Wotan, the Wanderer and Amfortas. Despite
these heavier roles I was pleasantly surprised at the power
and even line of his Verdi singing and the excellent vocal
characterisation he brought to the performance. There was the odd
moment when the tessitura taxed him, but his general portrayal,
acting and fleetness of foot in the little dance as he courted
Mistress Ford, were as to the manner born. As Ford, the Icelandic
baritone Olafur Sigurdson suffered a little from being rather
smaller than the ladies in both physical size and in vocal
strength during his monologue. Susannah Glanville was a tall and
elegant Mistress Ford, her silvery lyric soprano cutting through
the orchestral textures and portraying the role with visual
sharpness to match her vocal clarity. Deanne Meek was her visual
and vocal match in the smaller role of Meg Page. As Quickly, who
has to set up Falstaff for his humiliations, Susan Bickley lacked
the fruity tones and chest notes of the best interpreters. Nor
does the English translation quite catch the possibilities of the
sonorous reverenzas of the original Italian with which
Quickly greets Falstaff effusively at their meetings, with the
orchestral strings in full support. The Franco-Italian Valérie
Condoluci was a visually appealing Nanetta. She made a good effort
at floating her melodies with appropriate grace but didn't come
over as well as she might have done. Ashley Catling’s Fenton
couldn’t match her; he was physically and vocally more
lumpy. The Pistol of Andrew Slater and Bardolph of Keith Mills
were both excellently sung and portrayed and in the pit Tecwyn
Evans had a better feel for a Verdian phrase and line than his
predecessor of ten years ago.
It is
a matter for some regret that the public did not support this
performance of Falstaff in greater numbers. Verdi’s Otello
and Falstaff, the last of the great composer’s operatic
creations, have never had the following in the
UK
of his great middle period trio of Rigoletto, La
Traviata and Il Trovatore. Along with Aida and
perhaps Ballo in Maschera, these are the works the public
think of when the name of Verdi comes up. While musicians and the
opera cognoscenti know better, the general public miss out on the
dramatic and melodic operatic riches they choose to forego! I
sincerely hope there is better support to Opera North’s
imaginative theme of a series of operas deriving from Shakespeare
which will be presented over the coming eighteen months. The
works include Britten’s A Midsummer Nights Dream, Gounod’s
Romeo and Juliette, Bellini’s take on the same story,
I Capuleti e I Montecchi, and Macbeth - Verdi’s
first opera based the great playwright's works.
For
the final offering of the autumn tour and season, Opera North
presented what is claimed to be the first staged performance for
three hundred years of a work by Reinhard Kreiser. With the
English title of The Fortunes of King Croesus, this
is one of sixty or so operatic works that Keiser wrote whilst in
charge of opera in
Hamburg in
the first decades of the eighteenth century. As the name Croesus
might imply, the plot concerns the Eastern Mediterranean and
historical periods and subjects like this were a safe bet for
opera composers at that time. Even so, composers and librettists
had constantly to bear in mind the political sensibilities
of their audiences as well as the oversight of the censor -
government or church - a state of affairs that plagued
Rossini, Donizetti and even Verdi before the final unification of
Italy. Kreiser was an important influence on Handel and followed
the norm of the time in respect of the use of castrati for male
roles, with florid vocal ornaments as the standard means of
expressing high emotion.
The
production, given in English in an abbreviated version by
director Tim Albery, is shared with Minnesota Opera. The plot is
convoluted to say the least involving a war between Lydia and
Persia and several crossed loves along the lines of C loves A who
loves E who loves Z who cannot respond to her love, at least for a
while. All this goes along with the war and internecine power
struggles. And if that were not complicated enough, it was
nothing to sorting out the extended dramatis personae, especially
as the proceedings start with a fancy dress party with styles
across many periods up to the near present. Life was made easier
by recognising John Graham-Hall’s tall figure and being able to
clearly follow his immaculate diction; likewise the costume and
enunciation of Paul Nilon as the king, even without his armour.
Both acted with conviction and sang well.
Tim Albery updated the action to a time around t World War II with
an appropriately costumed and caped Feldmarshal Goering look-alike
as the leader of the Persians, sung with vocal security and fine
stage presence by Henry Waddington. He was accompanied by
appropriately helmeted troops who focussed further attention on
the updating which depicted the war as involving aeroplanes. In
Act I these were models that were moved and shot down and Act II
was played out on a larger scale broken wing and fuselage. Did the
update work? Yes, but it would have been easier to follow with the
benefit of surtitles to complement the sung English once again.
There was some gratuitous violence in the treatment of Croesus by
the winning side after which he was left laying prone, as if dead,
on the stage. Later the threat of his assassination by pouring
petrol on him, and presumably lighting it, was made chilling in
the wrong kind of way as a recent event in
Lancashire
streets has shown.
Of
the rest of the male singing cast, William Dazeley was
particularly noteworthy in the fullness of his tone and contrasted
nicely with Mark Le Brocq. The role of Croesus’s son was
sung by the unique, in my experience, all male and stocky macho
male soprano Michael Maniaci. I use the term male soprano, not
falsettist or countertenor, as he sings with his natural voice, a
situation made possible by the structure of his larynx. The
quality character of his voice as much as his vocal expression and
characterisation captivated me. The impact was heightened when he
sang in florid duet with his confidante and partner in deceit of
the Persians, Stephen Wallace a true countertenor. In typical
baroque opera style, with ornaments always the name of the game,
this was absolutely absorbing and presented a new opportunity for
performances of opera from this period where often a shapely leg,
or two curvaceous denials of masculinity, is no visual substitute
for an obvious macho portrayal. While Maniaci's uniqueness
may limit his career possibilities, Albery’s use of his
skills and his appropriateness to this work were wholly apt,
as was the playing of the period ensemble under Harry Bicket.
Of the female singers, the slender Gillian Keith carried the
heaviest burden. She started tentatively before striking a rich
vein of secure vocalism, complete with ornaments. If her diction
did not match her male counterparts, much of that was due to the
music's tessitura. Although similarly in vocal tone to Ffleur Wyn
their clear differentiation of costume sorted out any possible
confusion. Sarah Pring as the lady in waiting was rich and secure
vocally whilst Eric Roberts, complete with trilby, sauntered along
nicely as the Greek philosopher.
After this Lowry season, Opera North return to their
Leeds base
to prepare for the World Premiere of Jonothan Dove’s The
Adventures of Pinocchio. This takes place at Leeds Grand
Theatre on December 22nd. Together with Madama
Butterfly and a reprise of last year’s award winning Peter
Grimes, Pinocchio will be performed in Leeds during
January 2008. The programme then tours to the Theatre Royal,
Nottingham, from February 5th, to The Lowry, Salford,
from the 12th, to Belfast from the 19th,
and then for a week at Sadlers Wells, London, with
Grimes and Pinocchio only from February 26th. The tour
concludes at the Theatre Royal, Newcastle, from March 5th.