Upcoming at ROH and Glyndebourne 2019
What with everything, I missed the Gen Sale for the return to Wagner at ROH (oh, no!). The Ring Cycle is back this Autumn, with Pappano at the helm. I may look up returns for Stemme’s sake (aka, best intentions). Otherwise, we have the following:
Solomon in concert with Zazzo in the title role
Verdi’s Requiem with Jamie Barton and Stoyanova; sold out at this point
Simon Boranegra… for those of strong Verdi constitution (but where there is Wagner, there is also Verdi and there will be another production for the hardcore Verdians soon; an opera we know and I love to make fun of, because a recent new production at ENO clearly was not enough)
Carmen and Hansel and Gretel for the mezzo-deprived; Dudnikova might be an interesting Carmen, I liked her Principessa de Bouillon.
The Queen of Spades = must not forget
Traviata for the casual goer – it’s still the much loved production
Katya Kabanova – I’ll probably go
Così returns but don’t count me in
Insights Masterclass with soprano Angel Blue who’s doing a stint of Traviata this season
La forza del destino 😉 yep, that one, in Loy’s vision; with Trebs and the Alvaro of our times
Faust – hm, I might go, see how Damrau is holding up, PLUS it’s got Abrahamyan in her ROH debut (!) as Siebel (let’s all lament the fate of very good mezzos). On the downside, Ettinger conducts.
Billy Budd conducted by Ivon Bolton – the all male cast opera, let’s check it out…
Andrea Chenier – NOT with the Alvaro of our times but with Alagna and Radvanovsky! How can we resist that offer?!
Tosca with Opolais/Grigolo/Terfel but the last show brings Draculette back to her rightful territory so yay for those who care.
Boris Godunov still with Terfel but without Ain Anger; so soon? Maybe because they were short of money for a new production…
Carmen, because we’d already missed her, this time with Margaine, and Pisaroni as Escamillo, ha!
Figaro after a couple of seasons, because there are only 3 operas and 1/2 by Mozart; this is the season with Kimchilia Bartoli as Cherubino but also unusually with Gerhaher as Figaro plus Keenlyside as the Count. You know it might actually be worth revisiting and weirdly enough, for the men.
La fille du regiment returns once more, now with Devieilhe, and Camarena will show us his 3283576 high C in a row. Then again, Pido conducts.
In conclusion, some interesting turns but generally a rather meh year ahead for yours truly’s taste.
La damnation de Faust – a Richard Jones production, so it could be much fun
Rusalka – nah
Il barbiere – see below
Die Zauberflote – I’ll have to see it at some point, don’t know that this is that point; however, Agathe, David Portillo is Tamino 😉
Cendrillon – usually a spectacular mezzo-mezzo borefest, now with DeNiese and the ever trouserable Kate Lindsey; I mean, they had to make up for the music…
Rinaldo with DeShong in the title role. A bit of a strange choice IMO, but to be honest I have not heard her live and in Handel to boot. I was proven wrong before.
Boris Godunov (ROH, 21 March 2016)
It is the first time ROH has produced the original (1869) version. This production was a mixed bag for me. The biggest problem was that I didn’t feel the inherent “Russian-ness”. This isn’t the kind of general feel opera which you can transpose anywhere, any time and it feels timeless. This is “exotic” in the sense thst it deals with a very specific part of the world and very specific reactions to circumstances. It is timeless that way.
Boris Godunov: Bryn Terfel
Prince Shuisky: John Graham-Hall
Andrey Shchelkalov: Kostas Smoriginas
Grigory Otrepiev: David Butt Philip
Pimen: Ain Anger
Varlaam: John Tomlinson
Missail: Harry Nicoll
Xenia: Vlada Borovko
Yurodivy (Holy Fool): Andrew Tortise
Xenia’s Nurse: Sarah Pring
Hostess of the inn: Rebecca de Pont Davies
Mityukha: Adrian Clarke
Frontier Guard: James Platt
Nikitich: Jeremy White
Fyodor: Ben Knight
Boyar: Nicholas Sales
Conductor: Antonio Pappano | Choir and Orchestra of the ROH
Director: Richard Jones
You have to sell The Pretender somehow. Grown men “forged in the heat of battle” end up shitting their fine linen when some 20 year old (The Pretender) announces he’s the murdered crown prince as he had not died after all, the sole explaination being “weird dreams” (his own). This kind of thing flies in parts of the world where people still trample each other queueing to touch saintly relics. Here in the West, though, this kind of experience isn’t readily available to artists seeking to portray such a surrealist atmosphere.
As a result I felt once again that the necessary mysterious and unsettling non so che was missing. Ever seen the 1956 Hollywood version of War in Peace? Absolutely awful, awful, every actor miscast, the tone of the piece completely wrong. This is better, because the music is always there to save their arses. And, to be fair, the singers aren’t miscast. Just not nearly Russian enough.
Richard Jones’ staging was also only superficially Russian. The arched, golden “court area” above the stage was a good idea and gave it a bit of atmosphere. But then his team chose to have the boyars dressed as they would in Musorgsky’s time. Another hark-back (forward?) to the composer’s time. Sigh. I don’t know why directors love this idea. In this case it felt completely out of place, not adding anything useful but further ruining the meager atmosphere. The peasants/regular people wore peasant-y clothes, all in various shades of grey. Fair enough. Then, all of a sudden, for one of the big choruses, the choir returned dressed in bright, multipatterned attire. Some people (monks) wore robes but mixed with contemporary footwear. The Pretender (Otrepiev) wore a contemporary jacket and jumper bought in a second hand shop from a poor area. Him, of all people, was firmly placed nowadays.
I guess the fact that the crown prince is repeatedly shown being murdered in the arched, gold “court area” is meant to remind us that no, The Pretender is definitely not him – resurrected or not (the libretto is rather vague on how the crown prince might’ve escaped). Just in case we thought otherwise. Don’t flatter yourselves, the production has not an ounce of strangeness to it. We’re still firmly ensconced in a reality where you can’t even begin to consider such things.
Musically the most memorable bit was the peaceful part that almost reached a medieval feel where Pimen the chronicler monk is talking about how he wants to preserve history so that what has happened – in which he includes prophecies and rumours – is not lost to future generations. Wagnerian bass Ain Anger as Pimen was for me the most touchingly lyrical presence in the whole peace.
Not to say that Terfel in the title role wasn’t good. He sang with sesitivity and his voice feels good to the ear in this role but dramatically he was more Lear than Godunov. His interaction with Ben Knight as Godunov’s son Fyodor was excellent.
The rogue-ish monks Varlaam and Missail were very entertaining but – again – in a Western OTT way. Listen how Kuznecov sings the drinking song in a Gergiev-led version; there’s a certain impishness with a tinge of fairytale to it. When I heard this I was immediately transported to Gogol’s world. With Tomlinson it was a lot of fun but Viy didn’t come to mind even for a moment.
There is a debate as to where the best seats are for different types of opera but I think the first few rows in the gods are always a very good to decent bet. In this case I was sitting centrally and still the Coronation Scene could best be described as noisy: the chorus was loud, the bells were loud, the orchestra took it up 3-4 notches. I’m surprised we were spared sirens and airplanes taking off. I know it’s supposed to be loud, but I couldn’t discern any rhyme or reason.
I dozed off through most of what happens once the Pretender escapes the border patrol to Lithuania but (likewise) came back to life for Godunov’s elaborate dying scene. I’ve since given it another listen at home and I think I’d’ve liked it better had I known it a bit more. Some other time, then – with a Russian cast/conductor.