The Opera Queen

Tag: Paris

sketch, drawing, ink, quick, study, motion, figure, movement

Essay: Hype, Money, Music

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On April 8, 2024

In business, classical, music, writing

Everyone in the classical world seems to have an opinion on news of Klaus Mäkelä being named as the next music director of the Chicago Symphony Orchestra (CSO). The Finnish conductor will end his respective directorships in Paris and Oslo in 2027, and begin prestigious tenures with the CSO and the Concertgebouw in Amsterdam. He will be 31 years old by then, hopping between continents and, one may assume, making guest appearances with various orchestras as well. Since news of the Chicago appointment last week, reactions have been extreme; either Mäkelä (or his agent; or both) are out of depth, out of touch, out for money and in it for the glory; he isn’t serious; jetting in and out implies a lack of commitment! – or he is the lord and saviour of classical, he is especially brilliant live, he is beloved by musicians and audiences alike, he is talented and how dare everyone be so mean!

I am not a fan of hopping on bandwagons of any kind; they’re hot, they’re noisy, they’re airless – but sometimes such rides are required to ascertain the nature of a journey, its sites and stops, instead of looking to one final, ultimate destination. Money is not the final stop here but every bump along the road, with marketing teams and board members steaming up the windows. The people organizations choose as leaders have always been reflections of aspirations related to the artistic, intellectual, organizational, social, communal, as much as to an organization’s history with and around those elements. Leadership must be in a package incorporating all of these things, and be appealing to boards, donors, ticket-buyers, CEOs. Being good at smalltalk is every bit as important as studying scores – it greases the financial wheels, related parts of which are rather squeaky these days.  Attendance in Chicago is on the rise, but so is the cost of everything else, with Chicago’s rents roughly 20% above the national average – a fact worth considering; even the CSO’s lowest-price ticket of $35 is well beyond the means of a great many.

Recent upheavals within the city’s theatre scene are, as The Chicago Tribune‘s Chris Jones noted last year, symbolic of a wider problem involving the performing arts sector:

Companies run the gamut from nonprofit, community-oriented, avowedly anti-capitalist organizations with fundamentally social missions focused on political change, to high-cost commercial operations in the very capitalist business of producing profitable live entertainment. Often, their needs are divergent. And the former typically is contemptuous of the latter. (August 17, 2023)

One can make a face that classical music should never bow to commercial considerations, that it ought to be properly (however that is defined) funded by government at all levels – that classical music is so holy it must never bow to such a vulgar consideration, in which case the names Esterházy, Belyayev, von Meck, van Swieten, Coolidge, and various members of European royalty may not mean much. Flap arms about the nature of non-profits as much as you like; organizations need to feel they have secure futures, and they need a suitable figure in which to place those hopes. The cries of “Welcome!” that greeted Mäkelä’s recent appearances in Chicago following the news were obviously sincere, but also likely infused with a needed optimism for the art form as much as the organization and its illustrious history.

Feeling one is a part of that history, and a part of making that history, is attractive to audiences, even if they are largely unaware of the realities that are inherently part of working within the classical industry. Conductors, especially General Music Directors (GMDs), have never had only one job. Coach, counsellor, educator, initiator, glad-hander, poster boy/girl, diplomat, ambassador, peacemaker, activist, attractor of money, pseudo-guarantor of financial health and organizational stability – a few of the roles GMDs must play, in addition to that of leader, interpreter, and scholar of scores. Between the three-letter word “art” and the five-letter word “music” is the real four-letter word: work. Audiences want to feel the GMD is working for them even if they don’t know (or don’t want to know) the nitty-gritty, usually-unglamorous details. Those details involve shaking hands with strangers for hours on end, being agreeable to disagreeable if potentially useful people, coddling insecure players and soloists, courting CEOs of corporations who may know little about music, making appearances at various events, preparing for and partaking in of any number of meetings, creating programs that will be friendly to the box office, and negotiating those programs with a board and any number of administrators who may well think they know better (perhaps they do); the process of recording (and post-production) is a huge beast unto itself.

Such duties must also be negotiated around and within an immediacy digital culture demands, one specifically younger generations understand and (hopefully) respond to. Actual attendance at cultural things may be down but digital engagement is up, and boards are paying attention, relying on marketing personnel to manifest that digital engagement in real ways. As Los Angeles  Times music critic Mark Swed recently noted:

Boards! We can’t live with them, and we certainly can’t live without them. By their very nature, they are about money. They keep the institution running. They raise funds. When boards are excellent, they recognize the artistic vision and make miracles happen. But that can take some doing, because by their very nature, they operate by committee. (March 20, 2024)

Committees by their nature tend to have varying degrees of groupthink, an approach which rarely if ever (as Swed wisely notes) courts risk within the musical realm; that, in turn, leads to a perceived need to play to the masses, en masse, and in 2024, that’s social media. So in addition to all their usual duties, MDs of the 21st century are also expected to be online influencers of sorts; cue portraits of said leader in designer turtleneck or crisp shirt, in a well-lit locale, with score open, brow furrowed, wielding a pencil with carefully-manicured fingers, all of it Photoshopped to wipe away bumps, wrinkles, sags, and jowls. The face of the organization, so carefully edited to match digital ideals, is barely human; classical people are, you see, beyond the masses. (This is probably not the consciously intended message but such adherence to unrealistic and ageist beauty standards entrenches popular ideas that tie classical music to a perceived elitism;  I may write about this further at some point.) There is a kind of robbery at work when it comes to simply showing the actual people who work in classical, including (or especially) its leaders, the ones who must be the face of the organization, for good or bad.

Sometimes organizations demonstrate a great trust in their leaders, and they, in turn, opt for a touching (and refreshingly untouched) public authenticity. The social media presences of non-digital natives Paavo Järvi and Gianandrea Noseda (GMDs, respectively, of Tonhalle-Orchester Zürich and Opernhaus Zürich) are good examples, as is the Tonhalle’s “Tram For Two” episode featuring the two maestros musing on their shared passions and ideas. Whether the CSO or Concertgebouw will emulate this kind of thing is a mystery. Two people who love and work in music, talking about music and music-making, in all its various angles, unscripted; would groupthink allow it? Will we see Mäkelä in conversation with, say, Enrique Mazzola or Lorenzo Viotti?

Paris, Philharmonie, orchestra, classical music, L'Orchestre de Paris, live, performing arts, Klaus Mäkelä, conductor, musicians, stage

Klaus Mäkelä and the L’Orchestre de Paris taking bows at the Philharmonie de Paris, March 6, 2024. Photo: mine. Please do not reproduce without express written permission.

To what extent Mäkelä will be the face of classical music in both Chicago and Amsterdam, and just how that image might be shaped, curated and spun back out to the public, remains to be seen. The open and hotly-debated question of his music choices – whether he will program things that reflect places and related histories, epochs, and demographics while offering a forward-thinking approach –  is one that only time will answer. (He would be wise to ask Esa-Pekka Salonen for a few pointers.) Will it be possible to do anything meaningful at either locale, given travel schedules? Is youth an impediment or an opportunity?

I want to stay curious, if also mindful of what I heard at the Philharmonie de Paris last month. Mäkelä led the L’Orchestre de Paris in a programme consisting of Rachmaninoff’s Piano Concerto No. 2 in C Minor, Op. 18 and Shostakovich’s Symphony No. 11 in G minor, Op. 103 (The Year 1905); I came away with highly mixed feelings. The conductor did have a palpable chemistry with soloist Yunchan Lim, and it was special to see the effect that had on the orchestra – but there is nothing wrong with not following the crowd in other aspects (in this case Shostakovich). And as my former music professor Rob Bowman once said, energy goes where attention goes; extending energy to the work of  other conductors who are less firmly in the heat of a spotlight seems like a logical choice, one I hope classical music watchers will consider.

In the meantime, it’s time to leave the bandwagon and jump into the clear, cool evening. Remember the c-word.

Top image: original sketch, mine. Please do not reproduce without express written permission.
Ludovic Tezier, baritone, opera, singer, classical, French

Ludovic Tézier On Singing Verdi, Working With Jonas Kaufmann, & Why ‘Okay’ Is “Not Enough.”

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On March 11, 2024

In classical, interviews, music, opera, Paris, voice

To be called “the leading Verdi baritone on the global stage for the best part of a decade” (by Gramophone Magazine’s Hugo Shirley) is one thing; to be an earthy, energetic conversationalist is quite another. Ludovic Tézier manages both, and then some. To state he is a committed Verdi singer is putting things mildly. Currently performing at Paris’s Opéra Bastille in the title role of Simon Boccanegra, the French baritone has sung a who’s who of roles by the Italian master; Rigoletto, Macbeth, Posa (Don Carlo), Ford (Falstaff), Don Carlo di Varga (La forza del destino), Renato (Un ballo in maschera) , and Giorgio Germont (La traviata) are all part of his regular repertoire. Tézier’s 2021 solo album of Verdi arias, recorded with Orchestra del Teatro Comunale di Bologna and conductor Frédéric Chaslin and released by Sony Classical, won a Gramophone Award for Best Voice & Ensemble Recording. Gramophone’s Shirley called it “surely the finest Verdi recital – from any voice type – to have appeared for several years, if not a decade.”

As well as being a regular at Opéra National de Paris, Tézier has appeared on the stages of Teatro Alla Scala, Wiener Staatsoper, Bayerische Staatsoper, Semperoper Dresden, Deutsche Oper Berlin, Opernhaus Zürich, Teatro Real (Madrid), Liceu Barcelona, Royal Opera Opera Covent Garden, and The Metropolitan Opera (New York), to name a few. He has also performed at a variety of festivals including those in Verona, Savonlinna, Aix-en-Provence, the Chorégies d’Orange, Glyndebourne, and Baden-Baden as well as both the Easter and summer festivals in Salzburg. He has sung the titles roles in in Hamlet, Eugene Onegin and Don Giovanni, as well as Yeletsky (Pique Dame), Count Almaviva (Le nozze di Figaro), Athanaël (Thaïs), and Wagner roles Amfortas (Parsifal) and Wolfram von Eschenbach (Tannhäuser), and given both recitals and masterclasses. Later this year he’ll be a soloist in a performance of Brahms’s Ein deutsches Requiem alongside soprano Pretty Yende in a concert featuring the Strasbourg Philharmonic Orchestra and conductor Aziz Shokhakimov as part of the annual Festival de Saint-Denis. In May he will perform another signature role, Baron Scarpia in Puccini’s Tosca, in a new production by Kornél Mundruczó at Bayerische Staatsoper.

Set to join him for part of that run is tenor Jonas Kaufmann (as Mario Cavaradossi), a colleague with whom Tézier shares a warm and lively association, live onstage and through a number of recordings. Their 2022 Sony Classical album Insieme: Opera Duets, with Orchestra dell’Accademia Nazionale di Santa Cecilia under conductor Antonio Pappano, features the music of Puccini, Ponchielli, and Verdi, and garnered widespread praise, with The Financial Times‘ Richard Fairman calling it “a recital of distinction.” The pair will be performing selections from the album this October in Naples in a concert with Orchestra of Teatro di San Carlo and conductor Jochen Rieder.

Simon Boccanegra, Ludovic Teziér, baritone, Verdi, opera, performance, Opéra national de Paris, Calixto Bieito, classical, music, arts, culture, France, Paris

Ludovic Tézier as Simon Boccanegra at Opéra Bastille, 2018. Photo: Agathe Poupeney / Opéra national de Paris

More immediate is Simon Boccanegra at Opéra Bastille. Its heavy three acts (plus prologue) explore the vagaries of political intrigue, romantic jealousy, and ultimately, forgiveness in friendships and families alike. Calixto Bieito’s production, premiered in late 2018 and currently enjoying a revival, uses sharply contrasting textures and equally striking video projections to convey the tormented psychology of its titular hero. Tézier is simultaneously authoritative and sensitive, making smart use of small gestures and facial expressions to offer a complex portrayal of a damaged man navigating painful inner and outer realities.  The character’s reunion with his long-lost daughter Maria (Nicole Car) is especially moving, with the baritone wide-eyed if awkward, his Simon clearly yearning to embrace but utterly incapacitated. A physicality that might be used for care is made into more of a cave, yawning, empty, alone. Vocally he is broad one moment, intimate the next; colourful and textured, with just the right amount of shading, thickly applied or gossamer-delicate; flexible but not showy; legato but not engulfing; emotion expressed not via volume but through careful, considered control. Tézier possesses an artistry of the very highest calibre –immediate, human, utterly unforgettable.

Our exchange one recent rainy afternoon in Paris was conducted amidst intermittent announcements on the loudspeakers laced throughout Opéra Bastille’s labyrinthine backstage area. Tézier offered equal parts attentiveness, intelligence, passion, and sensitivity, a mirror of the qualities he brings to his performances, whether live or recorded.  We began by discussing one of his most memorable roles, as the seemingly-villainous brother in Donizetti’s Lucia di Lammermoor, a role he has been rightly praised for and remains burned into the memory of those who experienced his performance at The Met in 2011.

How do you see a character like Donizetti’s Enrico – is he a villain to you, or something more?

He isn’t really a villain – he feels like he’s doing his duty, keeping things around the family and its preservation. He wants to save his family – if you think about (Verdi’s) Germont it’s the same thing: he’s on duty; he’s protecting his son; he has to do a job to preserve his family and name.

You commented in an interview about Germont and Rigoletto and how singing them relates to age, experience and wisdom, which brought to mind the industry casting younger and younger.

I think of age as fruit. You have to pick it at a certain age, and not take the fruit that’s still green – you have to wait to pick those pieces. When you do a character too early you might have the voice to do it, but will you … give it the way you could give it ten years later? Plus knowing there are plenty of different parts, why do the biggest, deepest, most complex parts from the early beginning? Just because you sound more or less as you should sound for it? Opera is much more about telling the story in a certain way. Of course it’s about singing too. But if you’re not able to be the character and actually be believed within that character you’re better to do another one – there are plenty to choose.

Most of the characters you should begin with are lightweight, they are young and corresponding to what you are going through when you’re 28-30. In my case being a father made me really understand these Verdi roles. To make an image of fatherhood is one thing, but being one is different, I can tell you. I’d rather be number one in Mozart than number ten in Verdi. Doing those other roles helps you to be good at singing Verdi. Every colour you pick up in Mozart and Donizetti you will use later in Verdi – and in dramatic singing. It’s not just decibels, it’s about preserving your instrument, developing those colours and accents you may expect for Verdi, and having the freshness to give the good high notes and beautiful legato. That’s, in a nutshell, where you put a life story. And you can’t fake it; it isn’t rewarding for you in any way. You can’t give what you should be giving within the part.

You mentioned in a past interview that you’d love to do more Mozart, which reminded me of something Luca Pisaroni said years ago, that Mozart is a massage for the voice…

He is one of my rare brothers in the job. Luca is one of the best artists onstage I’ve ever met – there are only a few that still impress me, and he is one of them, because he is living the music, living the opera. He’s giving the music 100%. Some of the times Luca and I have worked together – not enough for my taste – we’ve done Don Giovanni and Leporello, and it is fresh like a new flower every time, growing all along and renewed every night – because we are growing together. You never know what may come right after you deliver your line, but you can be sure it is true, it isn’t a xerox at every performance…

It shouldn’t be a xerox!

No! That’s not opera! We are building on the stage a beautiful picture, like paintings, except we are life. We are not in the Louvre or the Met Museum – I love them both, by the way – but the paintings we create are moving so they are not the same, not the same at all every performance…

… and the light will change on those ‘paintings’ so the picture will change…

Yes, and that’s the beauty of it.

So which Mozart roles do you want to do now?

Every role!

I really want to see your Almaviva live.

Ah yes! I’ve done it – that a role needs either a young baritone, and I’ve done it at that time in my life, or a man of my age now, because after 40 men are kind of set in their habits…

There’s also the aspect of authority, and people questioning it…

That’s right.

… which really points up the subversive nature of the Beaumarchais play.

Precisely.

But the Verdi roles, like Simon Boccanegra?

I love this role so, so much. Oh my goodness, I can’t even tell you how much.

How has it changed for you, since you’ve done it a lot now?

Once you begin a part like I did here, in the same production six years ago already, the part is like every part, it is growing into your brain and your soul in a private way – it is there, developing. When you put the score on the table again to really examine it, it is different because you are different, because the part has developed independently and of course the voice has changed in six years. I have to find another way to express what’s in the part now. I don’t know quite what the connection is between the voice, the development of the voice, and the part itself – I am not sure what nourishes what. It might be the part that asks you for more colour or the voice that has more possibility. Somehow it’s all a dialogue.

So you internalize the part in your body, and  it returns, like muscle memory?

Yes, that’s true.

… but it changes at the same time?

Yes, because the body is changing. It’s like you remember and think back, “How did I do that mountain-climb when I was young?” The body remembers that you completed that activity. Sometimes you have to jump into a part you’ve not done for years – and voila, you know it, and the body knows it like an instinctual animal knows how to handle a dangerous situation, which is amazing. When you have more time to learn it, then you can take what your body remembers and try to make it in another way, into something finer, polished, deep.

Something you can translate into the outer world?

Yes, but to control the effect that you have on the public … that is so independent of everything. You try to give your best; sometimes it works, sometimes not. Sometimes it was great, sometimes not. You try to not do the same thing twice but to put yourself in the same state of mind, and it may not work… c’est la vie. Of course we are working with great passion on our voice but remember to be able to sing these beautiful parts is a present. So somehow we have to give it back to somebody and to the public for sure. It’s sort of a duty, because all truly great singers want to be able to get into this intimacy with composers like Verdi and Wagner. It is good to try to make people… sense what the composer wanted to tell or express, and when it works, it’s one of the greatest moments.

How much of this translates into your masterclasses? Conveying all of this to students must be a challenge.

Oh definitely. It’s a case of, if you want to express what I’m aiming at and what I wish you to aim for, then the basis is to have a very good technique and flexibility. You have to build that technique and have that ground on which you can find the emotion and voice. If you don’t have this sort of grounding… I don’t want to be in a room where I see people sweating to be loud. It’s why we have to build a very solid foundation, to be able to give the impression that we are actually doing what we do, easily. That makes the public much more comfortable and open-minded – open-souled, if I can say that. They can receive what you have to give. And never forget what we are doing makes a direct connection with the old form of Greek theatre. I think we should always aim for that kind of authenticity, and not forget it, and not be a narcissist thinking, ‘Am I good-sounding?’ Sure, it’s a good voice, but the expression isn’t there.

I remember once an artist was singing one night when I was in a hotel. This old guy was so skillful, he was giving the text and theatrics, but that was it. It was a nice voice, but … especially with Verdi, when you sing it nicely, it’s not nice. It must be beautiful, it must be deep – and the beauty is not always defined as vocal perfection. The beauty of a “perfect” face is not nice! Listen to “My Way” with Sinatra and another singer and you will know the difference. Sinatra has a beautiful voice but most of all he’s a great singer, a complete singer – the greatest tenor for me. You understand every word, on every level. Then you hear people just singing the words, not the music. They know the melody, but what makes it an international standard? Not the nice melody. Some may sing the nice melodies and say, “okay, it’s enough” – no. ‘Okay’ is not enough.

It seems like this is a big part of what informs your work with Jonas Kaufmann.

Very much so. When Jonas is entering the stage, he isn’t entering because it is written or because the director has called him on; he’s entering because he has something to do as an artist. That makes a hell of a difference. He isn’t only a singer; he’s an everything.

… which encapsulates what opera is about: voice, theatre, visuals.

That’s why we love it. I never could choose between the visual, the sound, the theatre.

Alexander Neef once remarked to me that he thinks opera is the most complete art form because of its integrating these elements. 

I can’t really say, it might be quite arrogant of me, but… maybe?

Do you think there’s a dwindling audience for this kind of artistic understanding?

I think there are still sensing it, and people who want this, and that’s what we need. I don’t ask people to understand why one emotion is there; I want them to listen, to feel, to say, “Wow, this is special to me.” And that’s it. Our job is to understand, to find the keys, but the public? I don’t ask them to understand – on the contrary. They don’t need to know all the tricks; knowing every single thing can kill the magic. Just listen; feel the emotion. It’s the best way to spend three hours.

Top photo: Cassandra Berthon
Louis Langrée, conductor, France, Paris, Opéra Comique, director, opera, classical

Louis Langrée’s “Larger View” At Opéra Comique

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On March 4, 2024

In classical, Europe, history, interviews, music, opera, preview, programming, Stravinsky, theatre

Most people know Opéra Comique in connection with Carmen, but there’s so much more to the famed Paris house than Bizet’s famous opera. Conductor and General Director Louis Langrée is clearly in love with the “jewel of a theatre” that has hosted premieres by a who’s-who of French classical greats, including Debussy, Delibes, Massenet, Méhul, Offenbach, Poulenc, Lalo, Meyerbeer, Halévy, and Thomas, as well as Italian Gaetano Donizetti; the theatre also hosted the French premiere of Puccini’s Tosca in 1903.

Appointed director of the Opéra Comique in November 2021 by President Emmanuel Macron, Langrée came with ideas – lots of them – though it’s clear he also possesses a wider awareness of the practicalities required to bring them to fruition. Langrée’s name is known on both sides of the Atlantic thanks to his work in New York and Cincinnati as well as his native France. Beginning his studies at Strasbourg Conservatory, Langrée went on to becoming vocal coach and assistant at the Opéra National de Lyon in the mid 1980s. From there he worked as assistant conductor at Aix-en-Provence Festival and music director with Glyndebourne Touring Opera. He made his North American debut at the Spoleto Festival in 1991. But it was his time in New York that so many North Americans may know him for, as Music Director of the Mostly Mozart Festival at Lincoln Centre, a position he began in 2003 and would hold for the next two decades. In 2011 led the Cincinnati Symphony Orchestra (CSO) for the first time in a guest capacity; he became its Music Director in 2013. He’ll be concluding his time there at the end of this season.

An award-winning discography comes naturally with so many varied experiences. It includes work with the Camerata Salzburg, l’Orchestre de l’Opéra de Lyon, Orchestre Philharmonique de Liège, and Baroque ensemble Le Concert d’Astrée, covering an array of composers (Liszt, Franck, Chausson, Ravel, Schulhoff, Mozart, Weber, Rossini). In Cincinnati  Langrée has recorded commissions by Sebastian Currier, Thierry Escaich, and Zhou Tian. The 2020 recording Transatlantic (Fanfare Cincinnati) with the CSO illustrates what could be an artistic ethos for the conductor in its intelligent transcending of borders and strict definitions. Langrée’s third album with the orchestra features shimmering, gorgeously vibrant readings of Stravinsky’s Symphony in C (1938-1940), the original 1922 version of Varèse’s Amériques, and the world premiere recording of original unabridged version of Gershwin’s An American in Paris. Music writer Jari Kallio wrote at its release that “Be it the ravishing colours, the ever-enchanting melodies or those uplifting rhythms, these performances of American in Paris are nothing short of an epiphany” and called the Grammy-nominated album “one of the most important releases of the year.” Yet opera isn’t a side-job for Langrée, but close to a raison d’être; the conductor has been involved in numerous opera productions across Europe – at the Wiener Staatsoper, Teatro Alla Scala (Milan), Royal Opera House Covent Garden, the Opéra national de Paris, as well as the Glyndebourne and Aix, and The Metropolitan Opera in New York, where he has led stagings of Iphigenia in Tauris, Dialogues of the Carmelites, Carmen and Hamlet, one of his favorite works.

Notably open about the siloed nature of conducting and the classical world in general, the Alsatian artist made it clear in a recent conversation that his administrative demands have actually strengthened his artistic output. Notes, phrasing, orchestration – any conductor can talk about those things; Langrée is just as interested in pondering resources, labour costs, world realities. The role of education is just as paramount, and the conductor is keen to strengthen and expand the connection between artistic institutions and learning for young people who may have only cliched ideas about the opera. Offering tantalizing morsels relating to a new work (an intriguing-sounding multilingual commission), Langrée enthused on his more immediate project, the upcoming double-bill of Ravel’s L’Heure Espagnole and Stravinsky’s Pulcinella, which opens at Opéra Comique on March 9th.

The pairing feels like a highly symbolic choice for an artist who seems perfectly at ease with his audience, whether near or far. We began by discussing why he chose these works, and what French actor/director/writer Guillaume Gallienne brings to the stage of the Opéra Comique.

Why pair L’Heure Espagnole and Pulcinella as one programme?

There’s an amazing repertoire of works which were commissioned and premiered by the Opéra Comique, of course the most famous is Carmen, but there’s also Pelléas et Melisande (1902), La voix humaine (1959), Les Mamelles de Tirésias (1947), Les Contes d’Hoffmann (1881), La damnation de Faust (1846), Manon (1884), Cendrillon (1899), Lakmé (1883), all of them were premiered here, along with L’Heure Espagnole (1911). Pulcinella was not premiered at Opéra Comique and it isn’t an opera but a ballet. L’Heure Espagnole is short, it’s one-act opera, or as Ravel said, a comédie-musicale; at the time it was premiered, it was paired with Thérèse from Massenet, which is a very moral story in which a lady abandons her lover to go to the guillotine with her husband. It could have been possible to show the contrast between the two pieces, but generally L’Heure Espagnole is presented with Ravel’s other operatic work, L’enfant et les sortilèges. They are two lyrical pieces that Ravel wrote but they have nothing to do with each other.

So I wondered, what could we present? I thought of an evening with contrasting subjects and arts; when you come to the foyer of the house here, you see les quartiers allégories (the four allegories) de Opéra Comique: la comédie, le chant, la musique, et le ballet (play-acting, singing, music, ballet). I thought it would be interesting to juxtapose ballet and opera. But which subjects? With these two works we have two contrasting subjects: Pulcinella is this man who is so attractive, an irresistible sex symbol for women, and the woman in L’Heure Espagnole can’t be satisfied by any of her men.

What’s the connection in terms of musical language?

It’s a case of contrasts. Stravinsky said he had an epiphany in discovering the music of Pergolesi, it was a way for him to go further; with Ravel, we have the sound of his beginning with L’Heure Espagnole. It is just amazing, these sounds that mix music and effects: a metronome, the sound of a rooster crowing, the soldier, with sounds that are very militaristic. The orchestration Stravinsky uses in Pulcinella, however, is like black-and-white: there is no clarinet, for instance, or any kind of a sound that might give some shimmering effect. It’s oboes, horns, trumpets, trombones, this concerto grosso-type orchestration with soloists and the tutti, whereas L’Heure Espagnole is much closer to The Nightingale or The Firebird in terms of its orchestration.

Does this reflect the connection between composers?

Ravel and Stravinsky were friends – they met at the premiere of The Firebird. Diaghilev had asked them to orchestrate bits of Mussorgsky’s Khovanshchina. They were using “vous” and not “tu”, but then they began letter-writing, and would open with “mon vieux” or ‘you old guy’ – it was a term of affection. (Conductor) Manuel Rosenthal told this story that on the day Ravel died (December 28, 1937) Rosenthal was conducting L’Enfant Sortileges; at the end of the evening he saw Stravinsky looking really upset, because he had lost his friend. Stravinsky went to Ravel’s funeral along with Poulenc and Milhaud – there were not many people, but Stravinsky was there.

How did Guillaume Gallienne become part of this project?

Guillaume is an immense French actor, stage director, and film director. I don’t know if you saw his film, Les Garçons et Guillaume, à table – it was so successful in France and rightly so. He has his own language, his own world, and he knows how to transmit it. He’s also gifted in how he inspires singers. The characters in both pieces here are not romantic, but they do want to be loved. Even the muscle-man in L’Heure – one is touched by his naivete. You need to accept them for what they are. It’s very difficult for singers with these works because normally they want to interpret a personage, to incarnate a person as a person, but there is none of that here, otherwise it would become a cheap piece. It’s amazing to see how Guillaume works, with his precision. Funny, because Stravinsky called Ravel “l’horloger suisse” (the Swiss watchmaker) there is this perfection in the details, as Ravel was fascinated by mechanical objects. With his opera, you don’t need to incarnate a person, you just have to sing and allow yourself to be placed in situations which are nonsense, a nonsense that makes you laugh, cry, smile, think, feel – that’s something special. Guillaume understands this perfectly. Every rehearsal with him is a masterclass.

What’s it like to return to Paris and lead a theatre so rich in cultural history?

I have a double life, the life of a conductor and life of a General Manager. When you’re in the pit, you don’t think, “My God, this place!” or “So much history!” but rather, “I should not take this phrase too fast” or “I should help the singer move on here.” You’re with very practical things. If you’re feeling overwhelmed, then you’re not doing your job.

What kind of responsibility do you feel to that history in terms of programming?

I do feel the DNA of this theatre, and everything that comes with presenting both new productions as well as works that everybody knows. You can have traditional houses, or houses where there is innovation, experimentation, trying to find new ways to do things, and generally the two are opposed, but actually the tradition of the Opéra Comique – our history – is to create, to innovate, to experiment. So even with old pieces like Pulcinella and L’Heure, juxtaposing an opera, comédie-musicale, and a ballet is a very unusual thing, but it is also symbolic of my mission. And of course we are going to continue to premiere new pieces, to give world premieres, to give Paris premieres also. But it’s one thing to create and to do the world premiere, and another to be confronted with different audiences, and have the work be interpreted by different singers, directors, conductors, orchestras.

Where do you see Opéra Comique being part of the ecosystem in the post-pandemic landscape then?

Today in the new economic situation we must have corporate users, which means that when you present a piece, either a new production or a new work, you have to find partners. For instance, after Paris L’Heure/Pulcinella is going to Dijon. When L’Autre Voyage opened here earlier this year, there were several festivals and opera managers and house directors who came to see it, and of course we hope that the piece will be presented in different places. We have also commissioned works with various outlets in Germany – and those commissions take into account traditions the Opéra Comique have always embraced in terms of languages. Gluck composed Orfeo ed Euridice in an Italian version (1762) and a French version (1774); Cherubini’s Medée had multiple translations from the French into German and Italian. So we are planning to do a new work with Matthias Pintscher now, in both German and French.

Also, and this is quite important, and maybe the main reason I wanted to come and lead the Opéra Comique, is the production and the transmission sides. We have the Maîtrise Populaire, which involves young people from 8 to 25 years old, they have part of a scholarship, morning is general studies and afternoon is for dance, singing, staging, acting. Many of these kids come from places in the suburbs of Paris where there is absolutely no contact with opera at all. Their dream might only be to become a soccer star, not an opera singer or any kind of an artist, and through this program they discover a new world – and it changes their lives. They learn that when you sing together, you must have concentration and discipline; you have to know that your partner counts on you and you can count on them, and that’s something wonderful. We are a theatre nationale, de la republique, so this is all part of our message: liberté, égalité, fraternité.

Where does this mandate toward education and development fit within your greater vision?

I arrived at an age where I feel that I must transit, I must help the new generation, I must pass the baton, and develop the image and the identity of this house and its public perception. This title, “opéra comique”, what does the “comique” part mean? People think it means operetta, but no, it’s from the same etymology as “comédie” or speaking; in opera you sing, in comedy you speak. It’s much clearer in German: “singspiel”. Opera, as an art form in the old sense, was a representation of royal power, onstage; at Opéra Comique it is the opposite, it’s the representation of ourselves as ourselves…

“Volksoper”…

Genau! That’s why The Magic Flute is a singspiel, it’s an opéra comique! And Carmen is not a princess, Manon is not a princess, Melisande – well, we don’t really know…

Your quote to the New York Times last year comes to mind:“When you have to read these Excel things and have to balance budgets and work with subsidies from the government — now, I feel like I’ve been plunged into real life. And that’s hard” – but from what you’ve said it seems as if these real-life details have made you a better artist.

Absolutely. I realize now as a conductor I was really in a silo. I used to feel an opera was the score, the dream of the composer together with voices and visuals – but now that I’m the General Manager of the house, there are so many things to think about: props, stagehands, electricians, costume designers, seamstresses. You have a larger view of the entire thing. And that awareness makes you think differently.

To what extent does that translate to your audiences?

What matters now is to understand the importance and role of philanthropy and sponsorship in relation to audiences – something I learned in the US – which is developing in its own way very quickly here in France and all of Europe. It’s especially relevant with inflation and the raising of electricity rates, in building sets and understanding raised wood prices because of the war in Ukraine. You can’t ignore all of that. And of course being on a constant budget, when you have inflation, you’re hyper-aware of salaries too. So what is reduced is the production budget, which is quite difficult, therefore we need to continue searching in terms of partners, corporate users, sponsors, philanthropists, and doing so with a lot of determination and energy.

So that’s where creativity comes in?

Entirely. I mean, a set that costs ten times more will not necessarily be ten times better. The realities force us to be imaginative. In terms of programming, there are at least three other houses in Paris – Châtelet, Champs-Elysées, Opéra national de Paris – and it wouldn’t make sense if we presented Tosca here, even though that opera did premiere in France at the Opéra Comique, and that’s only because the General Director at the time was a friend of Puccini’s. But when we present Carmen here,  for instance, we present it with the dialogues, not the recits. We’ll do the same for various presentations next season. That way we don’t compete with other houses. Also a small theatre is a great advantage; there’s an intimacy here, you can whisper and have it be heard, it gives a different relationship to the stage and the music. I remember conducting Hamlet (in 2o22) and (soprano) Sabine Devieilhe was whispering during parts of the mad aria – you could hear every word. It was incredible.

Is it right to say that intimacy is part of the Opéra Comique brand?

Yes, this place is a hidden gem. My office here, the office of the General Director, is close to everything. It’s often the case that the offices of house directors are on top floors, with beautiful and impressive view of their cities, but here, I have people above me, below me, next to me, and if I leave my office… <carries laptop> in three seconds, I am on stage…. voila! <shows auditorium on camera> This proximity really says everything.

Top photo: Chris Lee
opera, Ades, performance, Paris, The Exterminating Angel, cast

Review: The Exterminating Angel, Opéra national de Paris

By

On March 2, 2024

In art, classical, film, music, opera, Paris, theatre, voice, writing

Independence is as important to art as it is to life. In adapting from screen to stage, that autonomy takes on special significance. Audiences often expect a familiarity which has been molded by filmic elements and reinforced in the digital era by quick, easy access. Many works become little more than 2-D images made three-dimensional; designs serve to imitate cinema, not live apart from it. The expectation attached to adaptation, is a clear and present danger, if also a ripe creative possibility; x-ray vision is needed for 3D presentation. It helps to have a good partner.

Composer Thomas Ades and director Calixto Bieito use their combined powers to bring Ades’ 2016 opera The Exterminating Angel to startling, autonomous life. Based on the 1962 Luis Buñuel film classic, the new production at Opéra national de Paris is an unapologetic stage beast that takes aim at everything from religion to family to art to opera itself. It is bawdy, bold, and brilliant. Bieito skillfully navigates the imprecise nature of the plot by plumbing the depths of its various scenes and character relationships. The work depicts a group of aristocrats who gather for a late dinner party and can’t seem to (or won’t, possibly) depart from it. Rich in symbolic possibility, the opera’s Salzburg premiere was directed by the opera’s librettist, Tom Cairns, and went on to be staged in London and New York. Cairns’ staging hewed close to Buñuel’s visual palette of mid-20th century aristocratic Europe, a world of crepe dresses, statement jewelry, roller-set hair, as well as a thick wall between that high society and the outside world, which includes members of an inquisitive media, police, and a curious crowd. Bieito’s production is a different, and far more visceral vision. There are no live sheep here, and no thick wall either. Instead, members of the chorus (that raucous public on the other side of the earlier wall, here led by chorus master Ching-Lien Wu) are in the top tier of the Opéra Bastille, their voices floating out across the auditorium, a heavenly-hellish host of would-be angels, set to exterminate all within earshot.

The Exterminating Angel, Bieito, Paris, opera, Yoli

Photo: Agathe Poupeney

The production opens with a small boy holding sheep-shaped balloons wandering onstage and offering halting bleats before being joined by a priest (Régis Mengus) who whispers something close (too close) to his ear; this, we later learn, is Yoli, the son of a dinner party guest, Silvia (Claudia Boyle), who may or may not be aware of the priest’s abuses but seems determined to ignore them. Her twisted love-hate relationship with brother Francisco (Anthony Roth Costanzo) reveals a vein of wider familial abuse and reinforced silence, recurring themes within Bieito’s oeuvre. Scenes from the film are clarified with varying degrees of tension: the arrival; the ragout; the musical performances; the sister-brother fight(s); eating the sheep; the double suicide; finding water. These chapters are punctuated by highly memorable images, including the performers directly facing the audience at the arrival (echoed at the close); the ragoût consisting of two large bags of blood; the servants ducking under the table; the sheep being the guests wrapped in sheepskin rugs. Opera singer Leticia Meynar (Gloria Tronel) stands on the long wooden dining table at one point, arms aloft, holding cutlery in each hand. The table is carried by the male members of the cast around in a circle, Easter-procession style, as Ades’ score blazes out from the pit, deliciously eerie ondes Martenot included, a smouldering requiem with clear traces of Berg, Britten, Stravinsky.

Ades has tread the damnation-salvation waters previously, notably in the chamber opera Powder Her Face (1995), which explores the salacious life of Margaret Campbell, Duchess of Argyll. Music writer Alex Ross noted in a 1998 review that the work bears “a repeated sense of a beautiful mirage shattering into cold, alienated fragments.” These fragments have been enlarged within the writing of The Exterminating Angel. With the Paris iteration, they’ve also become technicolour. The depictions of not only religious ritual, but masturbation, voyeurism, defecation, self-harm, and suggested cannibalism have clear dramaturgical intent and theatrical urgency. The upright doctor of the film becomes a shambolic mess live, with a shirtless Clive Bayley joining the other cast members in shambolic disarray. Sexually voracious Lucia di Nobile (Jacquelyn Stucker) is initially elegant in a low-cut red satin dress and wavy hair; by evening’s end she is in naught but underthings, with wet hair, messy red lipstick and manic grin, looking less socialite than avenging Joker. Starlet soprano Meynar is one of the last to remove her dress (a sparkling sea-foam design) but the first to recognize the importance of the ritual that will end the group’s self-imposed situation. Performing, it turns out, is the double mirror revealing the waving man at the very back – it might be an illusion, but it’s an illusion to indulge. Indulgence also comes with a repeat of the crucifixion imagery, when the dinner party guests turn on their host, Edmundo de Nobile (Nicky Spence), blaming him for their entrapment; Nobile, as with Meynar earlier, becomes Christ-like, but the question remains: is this conviction, sacrifice, selfishness, or (quite literally) performance? What do we want as an audience – deliverance or diversion?

opera, The Exterminating Angel, Bieito, staging, crucifixion, Paris

Photo: Agathe Poupeney

In presenting the group in a range of vivid colours (costume design by Ingo Krügler) set against an all-white backdrop (set design by Anna-Sofia Kirsch), the work’s relationships as well as individual foibles are both clarified and scrutinized. This clarification of structure has a direct effect on the delivery of the work’s score and performances, which are uniformly strong. The cast handles the pitchy nature of the score with dramatic aplomb and Ades’ conducting is equally precise, whether he’s leading the work’s doomed lovers, Beatriz (Amina Edris) and Eduardo (Filipe Manu) in one of the few lyrical moments of the opera, a lewd pseudo-baptism, or the work’s haunting final call, “libera de morte aeterna et lux aeterna luceat”. The lines are a fusion of a responsory sung in the Catholic Office of the Dead and Requiem Mass, respectively, with the final lines of the Libera Me particularly applicable to Bieito’s staging:

That day, day of wrath, calamity and misery, day of great and exceeding bitterness,
When thou shalt come to judge the world by fire.

Rest eternal grant unto them, O Lord: and let light perpetual shine upon them.

The work ends with the cast standing as they began, assembled in a row downstage, staring at the audience in silence. Are they us? Are we them? The Exterminating Angel asks opera-goers to consider what we want, and expect – from entertainment, art, faith – and where and how they all meet. Let the light shine, suggests Bieito, but always remember the darkness. That’s where the ugly truth lies.

opera, Ades, performance, Paris, The Exterminating Angel, cast

The cast of The Exterminating Angel, Opéra national de Paris, 2024. Photo: Agathe Poupeney

Top photo: Agathe Poupeney
Alexander Neef, OnP, Opera de Paris, General Director

Alexander Neef: “The Essence Of Theatre Is To Engage In A Dialogue”

By

On December 29, 2023

In Europe, interviewing, interviews, music, opera, programming, theatre

History can be many things, but mostly, and especially within the classical arts, it is heavy. Alexander Neef, General Director of the Opéra national de Paris (OnP), is aware of this weight, yet he views it as a rich inspiration. The German administrator, who was the company’s Casting Director from 2004 to 2008 before becoming General Director of the Canadian Opera Company for twelve years, came to his current position in autumn 2020, much earlier than planned and smack in the middle of the coronavirus pandemic. It proved the first of many adversities managing one of the opera world’s most celebrated and storied institutions, one which has been known as much for its variety of names as for its trials and tribulations in the distant and not-so-distant past.

Those challenges, particularly since 2020, are very real: financial pressures, strikes, accusations of racism, the sudden resignation of Music Director Gustavo Dudamel. Where there is strife, however, there is also hope. This past March saw French-Senegalese OnP ballet dancer Guillaume Diop join the company’s coveted “Etoile” (star) category; he is the first Black artist to achieve the top rank. In 2020 Diop had co-authored a manifesto (“On The Racial Question in Opera”) which criticized discrimination within the organization. Neef, as you’ll read, took these concerns seriously, and met them with his own initiatives. A report commissioned by the company in February 2021 stated that diversity was seriously lacking, with Diversity Referent Myriam Mazouzi (who is also Director of the OnP Academy, a training ground for young artists) underlining the need for the company to “get out of our walls” and “open up our recruitment channels, otherwise we always have the same profiles and we become poorer.” To facilitate this opening, the company embarked on an ambitious initiative in French Guyana in 2022 to encourage and promote local talent. L’Opéra en Guyane works in close collaboration with Guyanese cultural institutions and includes all training in voice and dance as well as set design and makeup. The program ran this past October and November, and will return to Guyana again in March 2024, with its development being chronicled in a documentary series on POP (Paris Opera Play), the company’s dedicated streaming platform.

POP itself is impressive, hosting an immense and ever-updated archive of anytime-is-a-good-time (read: audience-friendly) viewing which includes all aspects of OnP’s considerable output: ballet, orchestral concerts, and opera (with subtitles available in English and French), as well as backstage documentaries, masterclasses, and artist interviews. The platform is the realization of the company’s earlier foray into video streaming, l’Opéra chez soi, launched just after Neef’s arrival in December 2020, and elegantly demonstrates a commitment to something beyond sexy opera branding, an overused aspect within the current classical-marketing landscape which mostly involves substance-free clickbait and/or posts (whether on social media or websites proper) with plenty of seemingly intellectual finery but ultimately bereft of the humanity and depth their subjects demand. POP runs counter to this trend; a thoughtful and accessible platform, its user-friendly design and wide range of subject matter implies a trust to let its users decide for themselves what is sexy – or intriguing, provocative, challenging, entertaining, engaging.

The platform’s launch happened almost concurrently to news of OnP joining forces with behemothic streaming giant Apple Music Classical. Along with playlists and previews, the channel features two special sections, curated by José Martinez, Director of Dance, and Neef, respectively. As noted in Van Magazine this past August, OnP has proven remarkably adept at attracting the ever-important young audiences, with all of these initiatives demonstrating a deeply intelligent stance in attracting younger people (although €10 tickets can’t hurt either). ADO (Apprentissage De l’Orchestre) takes things one step further. The company’s first French young lyric orchestra works in direct partnership with eleven different French conservatoires and provides opportunities for apprenticeships and performances on the main stage of the Bastille, the more modern of the company’s two spaces, the other being the famed Garnier. Each space comes, of course, with its own particular set of heavy histories.

Amidst all this – whither music? Gluck, Lully, Rameau, Cherubini, Gounod, Meyerbeer, Rossini, Donizetti, Verdi, Massenet, Saint-Saëns, Berlioz, Thomas, Halévy, Stravinsky, Messiaen: a partial list of composers who have enjoyed historic premieres with the Opéra and a veritable who’s who of classical music history, albeit a lineup some may perceive as creaky in 2023. Those names, however, sit comfortably beside contemporary ones including Adams, Adés, Saariaho, Kurtág, as well as acclaimed modern directors like Lydia Steier, Kirill Serebrennikov, Wajdi Mouawad, and Barrie Kosky. Ballet is an equally intriguing mix of traditional (Nureyev, Ashton) and modern (Pina Bausch, Jiří Kylián). Navigating the shifting classical landscape of the 21st century, particularly in a post-pandemic landscape, is scary business for any house, requiring a good deal of confidence in both institution and audiences, and a willingness to push the expectations and boundaries of both. The ambitiousness of Neef’s plans combined with an ever-smart approach to programming and production means audiences can expect slightly more than polite visions of familiar (or even unfamiliar) territory.

In our last exchange in 2020, conducted when he was still in Toronto, Neef emphasized a need for the new; in 2023 Paris, there is a broader if no less compelling view. Nothing quite new, as Roman statesman Cicero noted in Brutus, is perfect. That doesn’t mean it shouldn’t be attempted, particularly at a time when the opera world feels more divided than ever, as much by geographies and money as by ideologies and history. But history is, like the future, only heavy without the muscles  – and the brains – to bear it; Alexander Neef has both, and then some.

When we last spoke you mused on the role of so-called “safe” repertoire and audience fatigue; has time in Paris altered your views?

I don’t think so. One of the things that’s come out of the pandemic is to consider the thinking process around what do we do here. We are called the Paris National Opera; we have an obligation for specificity in the planning and programming, but also we have to ask what is our identity and how do we express via our programming? I think there are some very simple principles that have come from that question, and they are referenced in our programming now. First we have to take care of our own repertoire , which is a very large repertoire and includes all the pieces created at the Paris Opera and predecessor organizations over the centuries. That’s why you’ll find one or two productions which represent our house repertoire , if you want – Charpentier’s Médée, for instance. There’s a very rich variety to choose from. The other aspect is pieces which we have not premiered here specifically but which are part of French repertoire – works which are not in our repertoire currently which we are bringing back, like what we’ve done with Cendrillon, Faust, Romeo et Juliet, also Massenet’s Don Quichotte which we are presenting later this season. We are one of the biggest companies in the world, so yes, there is a standard repertoire.

The last part of this, which is also important for identity, is 20th and 21st century repertoire. The priority is not necessarily commissioning – as you know it takes time for those pieces to be developed – but to look at successful pieces of the very recent past and bring them to the Paris Opera, like Kurtág’s Fin de partie in the 21-22 season, or The Exterminating Angel, which we’ll do later this season. With Angel it’s also the first new production after the world premiere that we’ll be doing. All that is a very deliberate attempt to bring those pieces to the repertoire by presenting them often, which means if someone has created something great and we think it’s great, there’s no reason why we shouldn’t present it here just because we haven’t commissioned it. We have a couple co-commissions coming up; one we did with Festival D’Aix is coming to us soon; another, a substantial piece at La Scala, will be presented in Italian there and then come here later in French.

So to circle back to your original question, when we do the revivals of the standard or even the new productions, we try to bring people to the company who hadn’t sung here before and create a relationship of trust with the audience; even though they might not know all the names on the playbill, they can expect it will be a quality proposal. We just had Tamara Wilson onstage here – she had sung Turandot in Toronto in 2019. It was highlighted (in Paris) because Sondra (Radvanovsky) had to cancel the run and Tammy was slotted into the opening. People were like, “Who is this Turandot I’ve never heard of?” – but now everybody knows who Tamara Wilson is. Sometimes we have to have the confidence and trust to just do the things we feel are right.

House identity is something I’ve considered a lot this year. You told the New York Times in 2021 that when you were hiring a diversity officer that you wanted to put on “opera and ballet by 21st century artists for 21st century audiences” – what role has that diversity initiative played in house identity?

We’re lucky in Paris, the debate around diversity is much less charged than in North America. I say that without criticism of what’s going on in America, but it does create an opportunity here to get things done more quickly because we’re not in conflict but in a spirit of working together. One of the things that happened concurrent to BLM (Black Lives Matter), I was still in Toronto, confined in my kitchen then, but already appointed to take over in Paris, was that we decided to commission a diversity report for my arrival. At the same time a group of artists and other employees of colour in the company reached out and said, “We want to talk to you, we want to know how you feel about this issue.” They wrote a manifesto which was published in August 2020, when I was almost there – though I wasn’t supposed to be, I was supposed to arrive a year later – but at that time we had an initiative coming from the incoming leadership and the employees. There was a base of discussion which was almost immediate because we did not need to get over a steep mountain of conflict. We now have an advisory committee who meet regularly with staff but also with people from outside the opera, where we discuss all issues related to our repertoire and performances, as well as recruitment practices and so on. The discussions are all evolving.

We also started a big education outreach project in French Guyana with two main purposes, one of them to just run one of our established outreach programs for young people there but also to find talent, mostly for dance, but also for singing and instruments in the long run, people can be trained to reach the levels of excellence we would have to expect of the artists who perform here.

“If I want society to buy into what we do then we need artists from all kinds of backgrounds, people who want to do it, and can do it.”


What role does the newly-created ADO (Apprentissage De l’Orchestre – Learning the Orchestra) play in all this?

It’s too early to say yet, it’s just started; we’ve had two or three weekends when they’ve been together so far. But I think it’s in the same spirit. Today in France most musicians are the sons and daughters of other musicians – they get into the field or some form of arts environment early on and there are few obstacles if they want to learn to sing or play an instrument. Our challenge is to open up the pipeline, to create a larger pipeline, different pipelines, because one of the crucial issues of recruitment is that if you always look in the same spots and at the same people you’ll always find the same thing. The moment you open up and look at things a bit more broadly, there will be different talent. And all of this is not part of any ideology, but it’s more if I can say, the perennial nature of our art form: yes, what we do is opera and ballet for 21st century artists by 21st century artists. If I want society to buy into what we do then we need artists from all kinds of backgrounds, people who want to do it, and can do it. The imminent challenge for the repertoire is obviously finding people who are trained to perform it at our level, and who may also say, “We still want to sing Don Giovanni or Don Carlo, or dance Swan Lake or Giselle.” It’s for everybody to find themselves in what we do, on the performers’ side just as much as the audience’s side.

Alexandra Wilson recently wrote at The Critic that “It is not opera’s job to do social work.” I wonder what you make of that with relation to your various initiatives.

I think what we benefit from and use to our advantage, since we have a strong critical mass for culture in France but especially in Paris, is that we use our cultural weight to be heard, to be seen. What I’ve discovered being here is that whatever we do there is a lot of attention; when I commissioned the diversity report it was like a signal. We can put the subject on the map. So we try to do that quite deliberately now, to choose the subjects we want to talk about in order to get them the visibility we can, in our position, provide.

La Vestale, with Lydia Steier directing, may or may not make the world a better place, but it does seem like an interesting symbol of where the company is at now.

That’s fair, but like I said before: if we want to do the repertoire which has a reputation of being difficult to realize onstage, then we will tell it our way. La Vestale has certain formalisms the audiences of today are not quite familiar with today, so it’s vital to find not only one artist but a group of artists to say, “We want to defend this repertoire for an audience of today and we actually want to tell a story.” Whatever we do, whether it’s more or less traditional – even though one doesn’t know what that exactly is – or completely out-there avant-garde, it’s a reading of a piece, because we cannot not offer readings of pieces. We have to hire a cast, a director, and a conductor to read the piece for us; it’s not all there in the score and they just have to do what’s written. It would be an oversimplification to think that. We need people who actually do it. Otherwise we can sit with the score and read it, which is a more personal and private thing, but there is no unalterable truth that will always be the same. That’s why we still keep working on repertoire both recent and old – things like Médée, which we’re doing since the first time we created it in 1693.

Does that history feel heavy at points?

I find it rather exhilarating, I have to say, because there is a richness and also a high responsibility for this repertoire – but also an incredible richness. I find it really quite wonderful there’s that depth to draw from.

“The thing about going to the theatre, not only opera, is that it’s an individual and collective experience, in one.”


There were very polarized reactions to Robert Wilson’s staging of Turandot in Paris recently; do you find yourself having to explain or justify your choices to your audience?

First of all there’s no such thing as The Audience, anywhere. Secondly, and I said it at the COC that we had 2000 people every night; here at the Bastille we have 2700, and a different audience. The thing about going to the theatre, not only opera, is that it’s an individual and collective experience, in one. You are part of the collective who sits there but you also experience it all for yourself. So of course there will always be audiences who are more conservative and others who are more avant-garde, and then everything in-between. And in the end it’s very simply, “I like / don’t like what I see onstage” – that’s fine. But if we maintain there is not solely one truth in the pieces we present, then there can’t be one opinion, no matter how we present them. Ultimately it’s not about liking or not-liking something but being able to talk about it. The essence of theatre is to engage in a dialogue about what we’ve experienced together onstage. That dialogue is something that’s big in everyday life here, and it can be made richer because of people having a deep cultural routine. I found it was more restricted in Toronto – there I found that even with the variety of choices, people stick to the offers of one cultural organization. I would meet people at cocktail parties and they’d say, “I’m a ballet person” – fine, good, there’s no discrimination – but in Paris there’s a much stronger overall cultural routine which has been in place since early childhood. People don’t feel the need to choose between the ballet or the opera or the museum or the symphony. What keeps fascinating me, and it’s so different culturally, is that they bring kids to the theatre, young kids, on weekdays when there’s school the next day…

My mother did that…

Exactly! People do it because they feel it’s important their child sees this or that. It’s not the last thing you do, but the first thing you do. And I think that regularity with culture changes a person, it sets up a cultural routine. And if it’s diverse it can bring a lot to audiences and people in general. So to go back to your quote about opera’s job, we are not making the world a better place – but maybe through our work we can get people to think about how to make the world a better place.

“It’s not going to be a list of 25”


Finally: I have to ask you about your GMD search.

It’s going slowly but surely. Since Gustavo left earlier than he was supposed to, I decided not to jump to fast conclusions because I thought it would be better to use the time, mostly with the musicians of the orchestra, to engage in a real dialogue. That’s something that had been done the last few years but which had been quite disturbed because of the pandemic. Who are the conductors we really like? Who are the people who debuted during covid, maybe not under ideal conditions? Who are people who’ve come once that we want to see again? Who are people we’ve never met but want to meet? So over time let’s say maybe over the course of the season, we come to, or by default, a small list of people we’re interested in – it’s not going to be a list of 25 – between the people who have declared themselves candidates and the people we want to be candidates. Without necessarily formalizing that or having it in the public sphere, I think between the musicians and us, we will have more in-depth discussions about what we want, for the company, for the orchestra; what kind of profile does that person have, the one who comes closest to the ideal? All of which is to say: it’s an ongoing process.

Top photo: Elena Bauer / OnP
Adriana Gonzalez, soprano, singer, voice, opera, classical, Operalia

Adriana González: “Give Yourself Time And Space”

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On May 17, 2022

In classical, COVID19, Europe, interviewing, interviews, music, opera, voice

The extent to which concert and opera-going habits have changed as a result of the coronavirus pandemic is slowly becoming known. Recent announcements suggest that many organizations are playing it safe (or what they perceive as safe) in offering reams of favored classical chestnuts for 2022-2023 seasons in order to entice audiences, both old and new, back into the concert halls and opera houses. Any semblance of challenge is being left largely within the parameters of individual approaches – an interesting twist on “make your own fun”, perhaps – but one might still wish such notions (challenge, individual thought, critical thinking) hold some form of value in the post-pandemic classical landscape. I would like to believe that the idea of challenge – and its first cousin, curiosity – do indeed matter, and that whatever choices are (or be perceived as) over-cautious within future programming might be somehow reconfigured in order to open the door to more careful, contextualized listening / live experiences. As someone fascinated by how sounds transmit both verbal and non-verbal meaning, it has become a natural, near-unconscious habit to listen not passively but passionately. My ears, as I remarked to someone recently, have grown teeth; everything is evaluated with an intense energy and attention to detail. Developing incisive listening (and seeing, and evaluating) skill, however unconsciously, does not, despite being a music writer, always bring benefits; such habit is now perceived in some quarters as churlishness, over-criticism, over-analysis, even (heaven forbid), ingratitude (“You should be grateful live music is back at all!”). Yet this aural and visual approach, one now so useful amidst so many programming announcements, is not to be turned off or hidden, but rather, used in the interests of feeding curiosity, furthering inquiry, broadening the field of discovery.

Adriana Gonzalez, Iñaki Encina Oyón, melodies, Dussaut, Covatti, album, recording, piano, French, Audax, voice, vocalSo what a treat it was, to come across the album Mélodies (Audax, 2020) by soprano Adriana González and Basque pianist/conductor Iñaki Encina Oyón earlier this year. Featuring the largely-unknown songs of French composers Robert Dussaut (1896-1969) and Hélène Covatti (1910-2005), the album is a stellar showcase of González’s immense vocal talents, conveying a strong sense of the Guatemala-born soprano’s immense gift in integrating sensitive interpretation and smart technical approach; comparisons to the late Welsh soprano Margaret Price (1941-2011) come to mind, and have been rightly noted. The natural chemistry between González and Oyón share is evident through album’s 22 tracks, with the soprano’s coloration, phrasing, and textures matched by the pianist’s poetic tempos, touch, and dynamism, creating a luscious showcase of the hauntingly beautiful writing of each of the respective composers. “Adieux à l’étranger“ (1922) is a wistful work, Dussaut’s writing recalling the lyrical qualities of Massenet, while Covatti’s “Berceuse” shows clear connections to Ravel and De Falla; in each, González’s skillfully modulates voice and dynamics with and around Oyón’s delicate, intuitive playing. Mélodies is a very rewarding, very captivating listen, one that provides a wonderful introduction to both the composers and to Gonzalez’s larger talents, tantalizingly hinting at the explosive intensity which she so ably channels in live performance.

Winner of the First and Zarzuela Prizes at the Operalia competition in 2019, González has performed with Oper Frankfurt, Gran Teatre del Liceu, Opéra de Toulon, Opéra national de Lorraine, Opera Naţională Română Timişoara. Most recently she made her American debut with Houston Grand Opera, singing the role of Juliette in Gounod’s opera Roméo et Juliette opposite tenor Michael Spyres. This month sees Gonzalez perform Verdi’s Requiem in Portugal, a work she will perform again later this year with the Dallas Symphony Orchestra; other roles next season include Michaela in Carmen (with Dutch National Opera, Paris Opera, and with Opéra Royal de Wallonie in Liège) and as Echo in Gluck’s Écho et Narcisse with Opéra Royal, Versailles. Having become a member of the Atelier Lyrique of the Paris Opera in 2014, González has developed a wide repertoire, one that hews to her rich if highly flexible lyric soprano style, with an emphasis on Mozart, Rossini, and Puccini so far. That doesn’t mean she isn’t prepared to expand her fach, but she does it with maximum awareness of her instrument – its demands, its realities, the stamina required and the ways it can be fostered with grace and sensitivity, all whilst simultaneously exercising a clear artistic curiosity. González’s recital with Oyón earlier this year in Dijon featured music from her Dussaut/Covatti album, as well as music by Enrique Granados (1867-1916), Fernando Obradors (1897-1945), Frederic Mompou (1893-1987), as well as songs from her recent album, Albéniz: Complete Songs (Audax), a 30-track exploration of the Spanish composer’s varied vocal oeuvre. Released last October and rightly nominated for an 2022 International Classical Music Award (ICMA), the album is a seamless integration of chemistry, technique, and artistry with González again delivering a stunning display of her immense vocality and feeling for the art of song.

Adriana González, Iñaki Encina Oyón, Albeniz. album, recording, piano, Spanish, Audax, voice, vocal, songsAs I learned when we spoke recently, González, while highly aware of her powerful, affecting sound, is also aware of her desire to stretch, explore, and cultivate her talent creatively, with a firm hold of context at every step. We started off discussing what it was like to quickly step into the role of Liù for a performance of Turandot in Houston, as she was concurrently performing Juliette. Stress, what stress? González seems too focused a performer to let nerves ever get the best of her, and her recollection of the experience was coloured more by a mix off excitement, disbelief, and gratitude than any dregs of self-doubt. González is as much earthy as she is studious, and that intensity I referenced earlier is, as ever, always in the service of a knowing approach to craft. Such a combination of ingredients makes for a meal that satisfies toothsome ears, and for a very rewarding form of listening amidst post-pandemic times.

When I learned about your quickly stepping into the role of Liù I reviewed my 2019 conversation with conductor Carlo Rizzi about Turandot, who called that character the heart of the opera. What was it like to step into that world so quickly?

Musically it was quite something – but I didn’t do the staging. They had me singing from the side and had an actor doing the staging tagging because Robert Wilson’s Turandot is very precise in terms of movements. The actress didn’t know the music really well, so (the production team) were talking to her through an earpiece and she had someone telling her, “Walk here, do this, do that, step left, one step back – no you stepped too far” – for her I can’t imagine what it was like. For me of course Liù is such a different vocality from Juliette, it was like, “Okay, go for it!” In Roméo et Juliette I thought, “Keep it proper, it’s French” and with Puccini, well, it’s home very much for me vocally, but I hadn’t sung Liù since 2019 and in doing it recently I thought, “Oh my voice has really grown, it’s changed, this feels different” – so that was wonderful. And the conductor, Eun Sun Kim, is amazing; every entrance was so clear, she would be waiting attentively at other moments; she knows the text of everything. She was there every step. It was like, “I know my part but I’m glad you do too!”

You said in a past interview that in preparing for a role you go over the vowel sounds and various details of vocalizing. What has it been like for you to examine the sounds within the text – has your process changed? I’m thinking here specifically of your doing Tchaikovsky’s Iolanta in Paris in 2019.

Iolanta was difficult because I don’t speak Russian and it was a secondary role – it was Brigitta, one of her nurses, and it was one of the contracts I did from the studio years in Paris. I had to do it but otherwise, I would be very skeptical to choose a role in an opera which is written in a language I don’t speak, because I find you really need to learn the language, you need to understand the cultural context and background from which the words originate. French is great for me: I know all the expressions; I find humour. When you see the phrases in opera, used in day to day, you can react better, just from an acting point of view –you can react better and propose things knowing the meaning of the text, from a technical and vocal technique point of view. You need to know the meaning of the word to know what kind of colour and what kind of nuance works also. For example, if you’re saying “I’m hesitating” then you don’t want to say “hesitating” or the feeling it implies so beautifully, it’s a feeling that doesn’t reflect something good – maybe it can be a good thing in the long run, but in the moment hesitation is doubt, it’s a feeling of unbalanced things. This is a lot of the thought process – you need to find a way of expressing that feeling clearly. And then of course we singers, we do these sounds and feelings through vowels, not through consonants specifically, so if you have vowel sounds, you need to make them a bit more acid if you are expressing a certain feeling, and you need to do it in a way so the whole experience of the word comes through. That’s the background we singers need to do even years before we start, just looking at the role and singing the role, because it’s muscular training you have to do to find those colours, and so you don’t get in trouble. You can’t do colours and really go for it with just your acting instinct. You have to take care of yourself, so that when you do those colours you’re not hurting your instruments. It’s a balance.

When I spoke with Etienne Dupuis earlier this year, he said how doing Don Carlos opened the door to many new things he hadn’t experienced singing it prior in Italian, but I wonder about the “acid sounds” – how much might such a vocal choice disturb perceptions of beauty in opera? If you’re concerned about making the expected “beautiful” sound you risk flattening the drama into this heterogeneous sonic mass, but committing to the sounds you describe means risking the way you – and your voice – are perceived by those who hold fast to notions of ‘the beautiful’ as paramount.

Tamara Wilson, who is amazing Turandot, dares to go piano, and it’s in those moments where you can really see Turandot’s vulnerability – and hearing that approach changes absolutely everything. It’s no longer this sort of scream-and-fight cliché– her performance has this power and this contrast, but also has length: the role is long enough that she can showcase all the colours she has. For some singers it is sometimes difficult. I did four years of young artist programs, and it was through that experience that I learned short roles can be just as hard; in a long role you have to pace yourself –when to do what –you have this amazing amount of time to showcase your whole palette. But with a short role, it’s just that little bit of time – I did a small role in Rigoletto, for instance – in which you can’t show a lot, but definitely when you have a longer role you make decisions on how to showcase the beauty but also the anguish, because opera is very much about real life. There are sad moments –you want to make people cry and think about beauty – but it also has to be real emotion. It can’t be beautiful all the time; there has to be a balance between the elements. There has to be a balance between where and how you choose the moments to really go for pain, and all else.

This speaks to theatre, does it not? To the power of theatre?

Yes!

Theatre is firmly part of what opera is, and indeed these operas – Turandot is Carlo Gozzi via Friedrich Schiller, by way of Giuseppe Adami and Renato Simoni; Roméo et Juliette is Shakespeare by way of Jules Barbier and Michel Carré. Do you, alongside opera recordings, examine the plays and/or performances of plays as part of your preparation?

I did read Shakespeare’s Romeo and Juliet, and I also heard an audio book performance of it, to hear the inflections of the language, and to hear how the pain of certain scenes was expressed through the words – some of those inflections of text were so powerful. I also listened because of (curiosity around) the stage movement; the Houston production has specific stage movement; we had to train to do and we rehearsed, but I find if the emotion and intention are clear, then that helps you, no matter how you move, no matter the specifics. The intention of the action is there in the background. I definitely went through that process and got a good feeling: “Okay this is a painful moment” Also it was good to compare Shakespeare to what Gounod took for his final libretto – it’s very different. There are varying characters who are emphasized or not emphasized, and the family feud (in Gounod) is in the background compared to what Shakespeare presents. Also I couldn’t help but notice Juliet’s cheekiness – she’s very cheeky in Shakespeare; Gounod’s Juliette is more fragile and sentimental.

How much was working with Michael Spyres (as Roméo) an aid to the process?

From the first day Michael and I clicked really well. I’m a World Youth Choir baby – I did that really young, that’s what sort of got me to Europe – and I had always heard about Michael Spyres, as he was also in that choir as a kid. We’d heard of each other too – all of our friends know each other but we hadn’t actually met ourselves, but then we did and it was like, “You! Yes, you!” We clicked immediately – it was a wonderful meeting. Working with him was fabulous. He’s such a professional, he knows how to manage his instrument and be expressive, and he’s so much about the text also. It was a beautiful and natural collaboration. Even outside of the duos, he’s someone who really listens to what you’re doing – I listen to what he’s doing also. The first time we did a run-through, we did it one way; the second time was comp different because we were listening to each other so intently, so we felt good to make changes already. He’s a wonderful colleague. I couldn’t have asked for a more wonderful Roméo. Even without verbal language, it is so clear we are so much on the same page.

Adriana Gonzalez, soprano, singer, opera, classical, stage, Houston Grand Opera, Michael Spyres, Romeo et Juliette, Gounod, romantic, chemistry, duet

Michael Spyres and Adriana González in Romeo and Juliet at Houston Grand Opera. Photo by Lynn Lane.

Singers often emphasize chemistry – either it’s there or it isn’t. That’s important in a romantic opera, I should think… ?

It is important! It’s also a thing connected to life experiences. Talking with Michael, we’ve shared a lot of life experience, him and the countries he’d lived in, and me from Guatemala. Certain experiences create a certain way of thinking. Even if we grew up in different countries, he’ll say something about what he saw and I’ll say, “Hey, that happens in my country too!” So the life experiences are shared and create the way you behave and interact. That was also something that added to our work relationship.

And somehow the details, as you say, fall away. When you are doing this kind of project you can still come from your different places with all the related cultural backgrounds, but the meeting point somehow still exists, and that meeting happens in opera, and on record. Your album of Dussaut-Covatti is a good example, though I confess I hadn’t heard of the composers before hearing it…

That’s totally normal!

I don’t feel so bad now…

Don’t feel bad, seriously!

When you refer to chemistry, that is something definitely evident with your pianist, Iñaki Encina Oyón, through these songs; why make an album of their work?

I’m glad the complicity Iñaki and I have comes through. Now why do I say it’s normal not to know these composers? Because they are very unknown! The project came out of a very personal project for Iñaki and myself; the two composers, Dussaut and Covatti, are the parents of Iñaki’s piano teacher from Toulouse. When he left Spain he studied piano and conducting in Toulouse, and his piano teacher was the pianist Thérèse Dussaut (b. 1939), daughter of Hélène Covatti and Robert Dussaut. Thérèse doesn’t have children and she is getting older, and at the time she said to him, “Hey you know a lot of singers, why don’t you take my parents’ music and see what you can do with it?” Iñaki has such a curious brain, he loves to read and discover old composers, he digs for music all day, and one day he said, “Adriana let’s sight-read this.” The songs fit my voice so perfectly – the way it’s written was perfect with the tessitura and with the French. We went on to have a lot of fun performing them in recital. One day we decided to record them because otherwise, we worried they’d be lost to history – most were manuscripts, so we made a new edition of the scores, and recorded the album. The composers have so many other works – and Robert Dussaut was awarded the Grand Prix De Rome, the biggest composition prize you can win in France, he got it back in 1924 – it’s a prize Gounod won also; although Gounod only got it the second time he applied (in 1839, for the cantata Fernand), and Dussaut won it the first time around. It was music that had also not been done, and so it was wonderful to not be compared to anyone else and do something not done ten-thousand times already. The record label, Audax, is also independent, and their slogan is “Stay Curious” – they basically do unknown works, mainly Baroque and instrumental things, but are slowly taking on voice also.

As to Iñaki, that starts World Youth Choir also, like Michael. In 2012 Iñaki was the Assistant Conductor of the project and I was a choir person who did a solo, which I auditioned for. He heard me and said, “Where do you come from? What is this voice? Where did you train?” I said, “I want to sing Mimi!” I was 18 or 19 years old, and he said, “You know there’s the opera studios…” He informed me of all of these programs and how things work in Europe. I’d never left Guatemala – and a year later he invited me to Paris to do a production with him and invited the director of the Paris opera studio with whom he’s very good friends – Christian Schirm – and they got me the audition for the Paris casting people. It turns out they needed a Zerlina for the studio and took me in and asked me subsequently to stay in the program. And, all of that happened because of Iñaki, and his selflessness in wanting to help young talent. So I really owe him everything, he’s a wonderful friend and travels where I am singing – he came from Paris to Houston to see my Juliette debut, for instance. He’s really a close friend. So when you say the chemistry comes through on the album, that is really a wonderful compliment! We worked so hard on that album, and to express what’s written in the scores.

And now you’re shifting gears entirely, to Verdi’s Requiem. How do you prepare for something like this, especially something you’ll be performing across different continents?

When I accepted I thought, wait, should I have taken a longer pause between things? But it’s definitely something I did not want to turn down – the first one in Portugal at the end of May came as a proposal from Lorenzo Viotti. His sister Marina Viotti is doing the mezzo solo and she is one of my best friends. I thought, I’m not missing this opportunity to perform with my friend, and especially when it’s a first time for both of us! And also with her brother, I thought, really I can’t say no to this – so I will try to pace myself.

For singers, as a bit of context here, we are athletes, so we have to train vocally how we’ll use our muscles for the different types of writing from different types of composers. Gounod is different, specifically Juliette, to Verdi anything, of course. The wonderful thing is that the Verdi Requiem, if you look at the score, has many piani written and you have to keep a more slim position, a certain sort of throat opening, let’s say it that way – you can’t go full throttle, and doing a role like Juliette has helped keep that youth in the voice. Also having done a rebel kind of a Juliette has helped build the stamina for doing the Verdi Requiem, even with such different writing styles. I’ve learned the whole of the music and I’ll have a week to switch over from the Gounod to the Verdi – it’ll be a lot of training over that week. I’m slowly adapting my muscles and stretching them in a different way so I’ll be prepared to do Verdi. It’s such an iconic piece, and there’s been lots of reading, lots of analyzing, considering how to phrase the music – how to place this or that vowel; how to breathe in this place or that; how to make the larynx go into position so I can get a specific colour at a certain point –and how to get there fresh, so I can achieve that sound needed at the end of the Requiem but still have this sound of youth for the beautiful phrases at the very beginning.

Stamina is the right word  – but it’s a different kind of stamina required for Verdi’s work rather than Gounod’s. How might this experience and the preparation for it carry over into future roles?

It takes a lot – but you do think about it: what decisions to make when; what roles to take on; what do I want to do in the next five years. My voice will go into Verdi repertoire. I want to still enjoy the roles I’m doing now – Mimi, Liù, the Contessa, Fiordiligi. A Desdemona in the middle would be wonderful too…

That’s a role I’d love to hear you do.

It’s one I’m really looking forward to doing – and I am going in that direction, slowly. It is where my voice is headed – but you need to know how to pace yourself. In past times singers would do 60 shows a year for one role; now it’s like, we do 4 shows… and, can we do more, please? It takes so much time and effort and knowledge and, again, time… to prepare a role and then you do 4 shows, and you think, well, I hope I get to do this more!

That’s why the covid era was so devastating; singers trained five years out for roles in operas that were cancelled or moved. I want to believe the industry learned something from that time, but I’m not so sure… what’s your take?

It’s definitely been a time that’s made us think slower, so we were not just jumping around from one thing to another without a thought. It’s been a reminder of the importance of taking the time to do your things with dedication – dedicating time to the music, time and energy the music deserves, not jumping from one thing to another, but just focusing on one thing. Do that one thing wonderfully, then close the book, turn the page, go to the next thing. It’s very important to be this deliberate, and it’s the key for a long career also, to do one thing at a time, and to focus on it, and give yourself time and space also. I mean, God knows before in the opera world, in the Golden Age as it’s called, travel wasn’t that fast, it took how long to get to the American continent from Europe –you had days to recover from your performances, and you would travel on the boat, and then have a production in the US. Rehearsals were different also, so much was at a slower pace. There’s a lot to remember and to think about from that era in terms of taking time to enjoy things, and to enjoy the music itself.

Top photo: Marine Cessat-Bégle

Alexander Neef: “I Believe In The Resilience Of The Art Form”

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On June 9, 2020

In classical, Europe, interviewing, music, opera, production, programming

Alexander Neef, portrait, Canadian Opera Company, General Director, leader, director, executive, administration, opera, Canada, German

Photo © Gaetz Photography

Update 22 June 2020: The Canadian Opera Company has cancelled its 2020 autumn season. The conversation with COC General Director Alexander Neef, below, took place in May 2020, prior to the official announcement.

Cancellation, closure, calibration: these are the elements at work within an arts industry trying desperately to stay afloat in the middle of a pandemic. What to cancel? What to postpone? What to calibrate – or recalibrate – as the situation warrants? Which companies will be around in year, and which will close? Some organizations are busily preparing for presentations of old favorites within the context of a new normal dictated by the coronavirus, acting, consciously or not, as beacons of an industry facing an immense and undeniable transformation.

The annual Salzburg Festival, for instance, will be going forwards in a modified form as of August 1st. On the slate is Elektra (with Aušrine Stundyte in the lead and Franz Welser-Möst on the podium, in a production by Krzysztof Warlikowski) and a revival of Così fan tutte, as well as four theatre works (including the world premiere of Zdeněk Adamec by Peter Handke) and numerous concerts, including a Beethoven cycle by pianist Igor Levit. In Germany, Deutsche Oper Berlin (DOB) has also made adjustments. The company recently announced a 90-minute chamber presentation of Das Rheingold in its very own car park, running for five performances starting this Friday (12 June), and featuring twenty-two musicians and twelve singers. The production, by Jonathan Dove (who also did orchestration) and director Graham Vick for the Birmingham Opera Company, is not the first presentation by DOB in such an environment; in 2014 the company presented Iannis Xenakis’ Oresteia in the very same parking deck. Wagner’s first opera in his epic Ring Cycle had been originally planned as a fully staged work from director Stefan Herheim, a premiere which has since been postponed. The upcoming version, adhering to the guidelines set out by the Senate of Berlin, has a €5 entry fee and a pay-what-you-can structure, with audience member contact information being recorded and a 1.5 metre distance enforced; moreover, masks will be required when entering and exiting, toilets will be accessible, and (rather crucially) small bottles of “beverages” will be made available to visitors.

Such an ambitious undertaking underlines the very thin lines that currently exist between possibilities and probabilities. Those who can are doing their best, in the most creative and safe methods presently allowable; others are bending and flexing in ways heretofore unimaginable six months ago. The Metropolitan Opera cancelled its autumn season and will be reopening (ostensibly) on December 31st, although it continues to offer a revolving slate of productions online. Looking over their latest release, it’s hard to not think of the artists who were set to make their debuts at the house this autumn, either in a role or with the company itself: soprano Christine Goerke was set to sing her first fully-staged Isolde in a revival of Marius Treliński’s production of Tristan und Isolde; 74-year-old conductor Michail Jurowski was to have made his Met Opera debut leading Prokofiev’s The Fiery Angel. On the other side of the ocean, the Royal Opera House, itself in dire straits, is getting set to launch a new series, Live From Covent Garden, on Saturday (June 13), which will complement its extant online offerings of opera and ballet. Curated by Sir Antonio Pappano, Music Director of The Royal Opera, Oliver Mears, Director of Opera, and Kevin O’Hare, Director of The Royal Ballet, the event (set to be broadcast on BBC Radio 3 on June 15th) will feature performances by baritone Gerald Finley, tenor Toby Spence, soprano Louise Alder, and the premiere of a new ballet choreographed by Royal Ballet Resident Choreographer Wayne McGregor. The following two presentations of the program, on the 20th and 27th of June respectively, will be available on a pay-per-view basis. Like every company, a prominent “Donate Now” button is displayed on the ROH homepage, one whose request will no doubt grow in urgency  as the autumn season inches ever closer.

production, opera, stage, COC, Canadian Opera Company, Tim Albery, Verdi

Rosario La Spina as Radames (background) and Sondra Radvanovsky (foreground) as Aida in the Canadian Opera Company’s production of Aida, 2010. Photo: Michael Cooper

For Canadian Opera Company (COC) audiences, the fall season is just as fraught with uncertainty. In late March the company made the difficult if necessary decision to cancel the remainder of its 2019-2020 season, which was to include revivals of The Flying Dutchman and a wildly divisive staging of Aida by Tim Albery. Bereft of the gilded visuals so frequently attached to presentations of the famed Verdi work, the production had been anticipated for the reactions it might have provoked a full decade after its premiere. Would Toronto audiences have grown to accept Albery’s arresting vision? Would it have been so upsetting in 2020? Will it even be staged again, now that COVID seems, for some, to have put a damper on even perceivably risque productions and programming? The opportunity to discover the elasticity of the COC audience was, alas, lost this spring but another chance, possibly, awaits in the fall. The company is set to present Wagner’s Parsifal – the first presentation of the opera in the COC’s history. A co-production with Opéra de Lyon, The Metropolitan Opera, and the COC, the highly abstract (and at times, very bloody) François Girard-helmed work was presented in February 2013 at The Met, to widespread acclaim. Owing to the monumental nature of the production, the company launched a fundraising campaign with various levels of support named after elements of the opera. Tenors Christopher Ventris and Viktor Antipenko share the title role in the COC production, with Johan Reuter as Amfortas, Tanja Ariane Baumgartner as Kundry, and Robert Pomakov as Klingsor; COC Music Director Johannes Debus conducts. Opening night is scheduled for September 25th.

Parsifal, opera, stage, presentation, design, Girard, Metropolitan Opera, The Met, Wagner

A scene from The Metropolitan Opera’s production of Parsifal, 2013. Photo: Ken Howard

According to Canadian Opera Company General Director Alexander Neef, those plans are still intact. Neef, who is also Artistic Director of the Santa Fe Festival, had been set to leave the COC at the end of the 2020-2021 season and become General Director of the Opéra national de Paris. The company is facing €40 million in losses this year alone, from both the pandemic as well as numerous strikes which occurred before the lockdown. The Opéra’s current Director, Stéphane Lissner, announced in an interview with Le Monde on June 11th, 2020 that he’s ending his mandate at the end of 2020, emphasizing the extreme nature of the situation brought on by the coronavirus pandemic: “nous ne sommes pas dans une situation de passation normale.” (“we are not in a normal handover situation.”) Neef confirmed in a COC release the following day that he “certainly did not anticipate Lissner’s early departure and that also confirmed not leaving Canada just yet. Neef says he “has not yet had any formal discussions – either with the Paris Opera or members of our Board of Directors – about accelerating the start of my engagement in Paris. Moreover, the ongoing global health crisis makes it difficult to envision how any significant changes to the intended timeline could be accommodated.”

Back in May, Lissner spoke to the unfeasible economics around presenting opera at the Garnier and Bastille theatres within prescribed social distancing mandates. France, like most other locales, requires audience members to be two meters (6.5 feet) apart. “Le protocole [proposé pour reprendre les spectacles] est impraticable : impraticable pour le public, pour les artistes et pour les salariés. Suppression des entractes, c’est impossible, faire entrer 2700 personnes en respectant les distances, c’est impossible, la distance dans l’orchestre, dans les chœurs, c’est impossible,” he noted in early May (“The protocol [proposed to take over the shows] is impractical: impractical for the public, for the artists and for the employees. Eliminating intermissions is impossible, bringing in 2700 people while respecting distances is impossible, the distance in the orchestra, in the choirs, is impossible.”). Will there even be a 2020-2021 season for Opéra national de Paris? The report in Le Monde indicates, if not an outright cancellation, then a greatly altered one, with an emphasis on revivals, including La traviata (led by James Gaffigan, in a production by Simone Stone), the ballet La Bayadère, and the ever-popular Carmen, with Domingo Hindoyan on the podium, in an acclaimed staging by Calixto Bieito. The Bastille is not set to reopen until November 24th, and the Garnier in late December. A planned new Ring Cycle staging is off the books. “Fin 2020, il est probable que l’Opéra de Paris n’aura plus de fonds de roulement” (By the end of 2020, it is likely that the Paris Opera will no longer have working capital”), Lissner told Le Monde. “C’est pourquoi, à partir de janvier 2021, j’ai choisi de m’effacer afin qu’il n’y ait plus qu’un seul patron à bord.” (“That’s why, from January 2021, I chose to step aside so that there would only be one boss on board.”)

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The interior of the Palais Garnier. Photo: mine. Please do not reproduce without permission.

That “seul patron” is shouldering a lot of responsibility right now. Notwithstanding this unfolding and weighty situation, plus the cancellation of the COC’s spring season and the uncertainty of its 2020-2021 season, Neef was also very recently heavily involved in negotiations to obtain recorded COC performances for online broadcast during the quarantine – hardly a simple task, as music writer Lydia Perovic ably outlined in her smart investigation into the paucity of online Canadian opera content for Opera Canada magazine in 2018. Yet in our conversation last month, before the Paris news, Neef was his characteristically cool, unflappable self. The COC head honcho and I have spoken many times over the years, most recently last summer following the announcement of his Paris appointment. The German-born Neef has always been direct if highly diplomatic, eloquent but possessing an undeniable edge of steel. With an encyclopaedic knowledge of history (not surprising, given he graduated from Eberhard Karls University of Tübingen with a Master of Arts in Latin Philology and Modern History) and a solid if wholly unsurprising knack for thoughtful casting (honed during his time as casting director at the Paris Opera from 2004 to 2008), Neef is as much passionate as level-headed; that passion shows itself in strong, well-observed opinions and observations, and then translates itself into elegantly understated wisdom. Having started at the Salzburg Festival with famed opera administrator Gerard Mortier, Neef went on to work at the Ruhrtriennale, New York City Opera, and later, Opéra nationale de Paris, before arriving in Toronto in 2008. In the decade-plus of his directorship with the COC, Neef has brought a number of celebrated international opera figures to the Four Seasons Centre stage: singers (Ferruccio Furlanetto, Anita Rachvellishvilli, Patricia Racette, Stefan Vinke, Luca Pisaroni, conductors (Carlo Rizzi, Speranza Scapucci, Paolo Carignani, Harry Bicket, Patrick Lange), directors (Peter Sellars, Dmitri Tcherniakov, Claus Guth, Robert Wilson, Spanish theatre collective Els Comediants). He has consistently championed the work of tenor Russell Thomas, who has appeared on multiple occasions on the stage of the Four Seasons Centre (The Tales of Hoffman in 2012, Carmen in 2016 Norma in 2016, Otello in 2019, and was to have performed in Aida this spring), along with that of soprano Sondra Radvanovsky (two operas in Donizetti’s Tudor trilogy as well as Norma), bass baritone Gerald Finley (Falstaff, 2014, Otello, 2019) and soprano Christine Goerke, whose Brunnhilde in the company’s year-by-year presentations unfolding Wagner’s Ring Cycle won her acclaim and, like Radvanovsky, Finley, and Thomas, bolstered a fierce following.

In mid-May, Neef took part in an online chat hosted by the Toronto-based International Resource Centre for the Performing Arts (IRCPA) in which he was asked about how he perceived the coronavirus pandemic was affecting the opera community, singers in particular; I was keen to hear more from Neef and was grateful when, not a week later, he and I had a lengthy discussion – about pandemic, Parsifal, Paris, and, to start, the question of risk and its place in the industry moving forwards.

Alexander Neef, portrait, Canadian Opera Company, General Director, leader, director, executive, administration, opera, Canada, German

Photo © Gaetz Photography

In light of the damage the pandemic is doing in the arts world, some believe that opera programming and presentation will become more conservative, that any perceived risk in either is off the table for the foreseeable future. What’s your take – can opera afford to break eggs in a pandemic/post-pandemic environment?

To stick with your analogy: I think there is no art if you don’t break the eggs. And I think since we don’t have any live art in our lives right now, breaking eggs becomes even more important in the future. I got this really interesting manifesto in my mailbox this morning – and it’s easier to say this when you run a little company rather than when you have X number of employees you want to keep feeding – but, it says, “time to commission new works from young composers; time to ally with other theatre, cinema, dance, performing arts centres; time to follow the example of cinema, the storytelling medium that came after opera and was predicted by great opera composers” and so on. When you’re a small, flexible structure, then yes, those boats are easy to turn around; you can be much more reactive. The bigger your apparatus becomes, the harder it is to change because there are a lot of people who need to make that change with you, but in general, I’ve never believed and still don’t believe it, that going back to more traditional approaches, to what we consider “safe” repertoire, will do anything for the future sector – the only thing it will do is make people get more tired of you. Or, to say it another way, how many times will you need to see the same production of La bohème, even though it might be with different people? At some point you may say, “I’ve seen this five times over the last ten years; give me one reason why I should go again?” I think what we’ve been trying to do is to space things out enough, or to hold off with programming, so there’s still for us a reason to do (a certain opera), other than the reason that it’s popular repertoire…

Or it’s nostalgia… 

… or it’s nostalgia, yes. Also, our audience is not eternal. Like everybody who deals with an audience, we are always interested in refreshing – we want a relationship with our public where we don’t always confirm what they think opera is.

That’s a big hurdle, especially for companies who play into clichés. How do you counter it?

It is a hurdle, but I continue to believe, and this crisis hasn’t changed my opinion so far, that what’s really important is people know what kind of company they’re coming to; you need to have a spine. And again, I always say, and have said: indifference is our biggest enemy. If people think, “Oh, this is the same old thing” or they leave a show and can’t remember, ten minutes later, what it was all about…  well, obviously we want people to like what we do, but I prefer they hate (a production) with a passion than be indifferent to it. Unfortunately we didn’t get to do that revival of Aida that people were itching to see, for very different reasons!

I distinctly recall someone saying to me at the opening in 2010 that “it’s actually just fine if you close your eyes.”

Think what you want about that production but ten years later people still talk about it. That’s what I mean when I say indifference is our biggest enemy. Obviously there was a lot of rejection at the time but also a lot of people came to it and said, “Wow, I had no clue opera could be so current, and about me, and not just stuffy and purely representational.” 

There were also younger people I know who went and later said, “That was my first opera experience and I wanted grandeur and camels!”

… and other people walked away from it thinking, “Where has this art form been all my life?!” So it’s hard to say what’s interesting to one and not to the other. People think about young audiences that, very often, those are the ones who want the avant-garde, but I think it’s not necessarily true; sometimes they’re way more conservative than someone who’s been subscribing for twenty-five years. It’s a complicated thing! But just because you are older does not mean your taste in art is more conservative – that’s not how it works.

Parsifal, opera, stage, presentation, design, Girard, Metropolitan Opera, The Met, Wagner, Jonas Kaufmann

Jonas Kaufmann as Parsifal in the Metropolitan Opera’s production of Parsifal, 2013. Photo: Ken Howard

There’s been so much effort on the part of classical organizations to try and get this mythical young audience, but I feel as if the pandemic has forced them to realize the importance of a far wider cultivation.

In the end you can’t afford to ignore any part of your audience. Right now there’s an issue with at-risk populations; a young audience is not seen as so much at-risk (for COVID), but I think that shouldn’t mean we totally abandon our older audiences. The whole discussion for me is kind of moot anyway, because you cannot separate the discussion of keeping an audience safe from keeping the performers and staff safe, and while that might not be exactly the precisely same measures, if you can’t combine both, then it’s going to be very hard to have a show. Right now the pit is a very dangerous work environment. We’re in a lucky position in Canada and the COC – we won’t be going back into rehearsals before two-and-a-half months from now, so we will have better information in two weeks, four weeks, six weeks, that will allow us to make better decisions. The big hiatus we have now, I’m rather grateful for that.

Some in the Toronto opera world are wondering what will happen to Parsifal – it’s been a long road to having it staged at the Four Seasons Centre.

What I say is: I simply don’t want to make that decision right now. And I don’t feel I have to. Right now we’re living in an equation with too many variables and those variables make it hard to solve that equation. There’s already some measures falling in place in terms of public health advisories, and some of the variables are starting to be eliminated. Today I read something stating that essentially the virus is mostly circulating in the GTA (Greater Toronto Area) and the rest of Ontario is under control – which is not great news for the GTA, but it’s true in all urban centres – Montréal, Paris, all those places – it’s true that it hangs on (in those locales) for longer because there’s more movement of people, but it also means it can get contained. We need to have a better idea of the public health measures.

Obviously we won’t be able to perform Parsifal if we have to have limited numbers in the audience, it’s an economic nightmare and it wouldn’t be worth it. We couldn’t even accommodate all of our subscribers (in that scenario), but we have to be prepared, and we are taking the time to be prepared, and when we have to make a  decision, we will gather all the elements to make the best decision for our staff and performers, and the house, and everyone.

Paris, Palais Garnier, opera, France, art, auditorium, Chagall, culture, history, curtain, red

The interior of Palais Garnier. Photo: mine. Please do not reproduce without permission.

It’s a strange new equation to accept, that we are now in a world where there’s a question mark over both Parsifal and Paris’s opera season.

It is a strange new equation, and with strange new variables – and I think one needs to take this a week at a time. There are supposed to be additional announcements of openings in Europe…  

… under strict conditions. Returning to the theatre-going experience people are familiar with will take much longer. 

Yes, and it’s a two-way street, or more than a two-way street. A part of it is medical progress as well – I think even more effective and widely-available testing will do a lot to reassure the public about the situation. That is big! Everybody knows the vaccine will take a little while but also we’re working on all kinds of things in terms of an effective antiviral, because the truth is, if we didn’t have a flu vaccine we would be having a terrible situation every winter. But because we have a flu vaccine there’s no discussions of masks or additional hygiene measures during flu season… so we need to find a way through additional safety measures, through progress in medicine, all of that, to kind of normalize this situation in a way that is…  I mean, there’s always a risk: you leave your house and you can catch something on the subway, right? That happens to a lot of people. I am not a scientist and indeed COVID is very contagious – if you get sick you can get very sick, but we need to take time to really learn more about it and then calibrate all the available information and input it back into a form where people can gain a certain amount of comfort in leaving their homes, in order to assess different levels of risk.

Four Seasons Centre, Toronto, pit, orchestra, view, auditorium, architecture, opera, ballet, performance

View from the orchestra pit of R. Fraser Elliott Hall at the Four Seasons Centre for the Performing Arts. Photo: Lucia Graca

How do you see the current recalibrating in the opera world influencing not only companies but artists?

Again, for everything that’s on the performer’s side, regular testing is going to be the key so that you can be certain the people working together in confined spaces, people touching each other in rehearsals and so on, they can have a reasonable level of confidence that everybody is up to date on their health. Now it’s the case that you wake up in the morning and you feel a little bit off and take your temperature; three months ago you would have thought, “Oh I’ll see how I feel in the afternoon” but today you get the thermometer out and look at the reading and say, “It’s not normal.”  People will be more sensitive to their own symptoms and more responsible, I think. I was reading something interesting, about how work culture will change, especially in North America, where coming to work sick was like a badge of honor, not letting the company down, now it’s, “You’re not feeling well, we don’t want to see you” and that’s not necessarily a bad thing! That’s the performer’s side. 

On the audience side, if people feel safe again if wearing a gloves and a mask when they go somewhere and feel okay to sit next to someone they don’t know, if we can reach that level of confidence, I think nobody will care about people wearing a mask in the foreseeable future in a theatre, even if it’s not a requirement. It will be part of the new normal, and frankly, it’s normal already in certain parts of the world. It’s funny that in Canada, which was so haunted by SARS, mask-wearing didn’t become a norm, so maybe now it will. If that’s the worst thing that can happen to us, that people put on a mask before walking into the Four Seasons Centre, we can do that. There’s so much cultural change about masks that’s already happened – people felt, “Oh you can’t speak with a mask” – well, people do it all the time.  I was at the supermarket the other day and ran into someone I know, and we didn’t take our masks off, we just spoke with our masks on at a safe distance. Places are going to normalize these kinds of protocols, and it’ll make it all less scary, I believe. And of course, if you are part of a risk group, you would think twice about where you go and what you do; we might be able to accommodate you somewhere in the theatre. We’re more than happy to do that with patrons; it’s our business to accommodate their needs. Frankly, every theatre would be willing to do that to get their patrons back. But then again it’s not something we haven’t done already in making all reasonable accommodations for people with needs.

Russell Thomas, tenor, rehearsal, Otello, COC, Canadian Opera Company, singer, vocal, Verdi, rehearsal, opera

Tenor Russell Thomas in rehearsal for the Canadian Opera Company’s production of Otello, 2019. Photo: Canadian Opera Company

And casting?

That’s actually one of the bigger problems we’re discussing. Zoom doesn’t give you a lot of information about the size of the voice but it does give you information about the personality you’re dealing with, about pitch, about rhythm. We were talking about this in relation to the ensemble, for example; they were Zoom coaching before they went off contract for the summer. Everybody hated the idea initially, and then came away saying it was better than not doing anything at all, so that is obviously also a part of that new normal, as you say. There’s also the situation of stage auditions and having a pianist and nobody in the hall except for two or three casting people; that seems less complicated than a full stage performance in this environment, if you can get them safely in through the stage door and onstage. All these things are being worked out. 

I’m curious if you think digital platforms like Instagram will become a big factor in casting the post-coronavirus opera world. 

It probably will… but…  I look at it more as an added tool to what we’re already doing than anything else. We have more and more tools at our disposable, yes, but there’s a lot of the old stuff that still works and we can’t abandon it, that’s been true for our marketing and communications as much as for casting – we still send postcards to people (for marketing) because there’s people who really like postcards, maybe not as many as twenty years ago, but it’s still a valuable part of our audience, so why would we abandon that practise?

Alexander Neef, General Director, COC, Canadian Opera Company, event, live, stage, announcement, administration, opera, arts, culture, Toronto, German

Alexander Neef at the COC’s 2020-2021 Season Reveal event, 2020. Photo © Gaetz Photography

So the same holds true for singers then? I see a lot of imitation online. 

As I said in the IRCPA talk, people who do casting are really not very interested in generic products… 

… you mean in terms of singers pushing an homogenous image?

Yes – going back to your breaking-the-eggs metaphor at the beginning of our conversation, if you don’t have that appetite for risk-taking there’s not going to be a lot of art in what you do.

Strange to think that being yourself is perceived as a risk.

We all know it’s the hardest to be yourself – but as an artist you have the opportunity to not be yourself, and to figure that out, and to live it out, in a way a lot of people cannot, but I think it’s very important to have that self-assessment skill and to figure out, clearly, “What can I do better than other people?” If you have better high Fs than anybody, then all I want to know is, can you sing Queen Of The Night? That’s the thing, and there’s nothing bad about it, and you must acknowledge that as you get older, your high Fs won’t be as great, and you’d better figure out what you can do then.

Or have figured it out already… 

Yes. It comes back to having a lot of courage. Sometimes I feel the courage, especially for a young artist, will always come before the self-assurance, but it’s kind of a bit of – I really like this egg thing you started with! – it’s a chicken-and-egg situation: if you don’t put in the courage it might just never happen, but you will not know if there’s a reward before you’ve done it, and I think doing it for the first time, and seeing if it works, will give you more courage for the second time, and so on.

The benefit of digital is it’s creating a vital form of community a lot of people miss right now – are the recent COC opera broadcasts a sign of things to come?

Right now it’s a concession to the times we’re in; we wouldn’t want to necessarily put archival recordings out as a standard, but what’s important for me is – and some don’t see it this way but that’s fine – that it’s about creating a presence for all those artists who can’t work right now. Putting this kind of work out – work that was done in a good environment, where (artists) are performing good roles with a good company, with a high level of quality – reminds the world that is what artists do. And having such material released also reminds the world that this is just a video, and if you want the real thing, you will have to come back to the theatre and get a real-life experience.

So you see video as a complement, not a replacement?

Absolutely.

Paris, Palais Garnier, opera, France, art, auditorium, culture, history

The exterior of Palais Garnier. Photo: mine. Please do not reproduce without permission.

I asked you this in our conversation last year, but of course so much has changed, and I want to ask again: what are you taking with you now from Toronto to Paris? 

I’m not leaving just yet! 

Something you’d noted before is your desire at Opéra national de Paris to highlight various historical aspects within a contemporary context.

That hasn’t changed, of course – putting historical opera within the larger context of what happens today, for 21st century artists and for a 21st century audience – that won’t change, but we’ll have to see as we emerge from this crisis, what has actually changed, and when we can go back. That (plan for return) will determine a lot. The longer this goes, the more we will have to think about smaller things we can do for limited groups of people. The goal is to go back to fully staged opera as quickly as possible, but if we can’t do that, we better get inventive. Ultimately I believe in the resilience of the art form. 

2019: Looking Forward

By

On January 2, 2019

In Europe, music, opera

Andreas Schlüter kopf einer gottin

Andreas Schlüter, Kopf einer Göttin (Head of a Goddess); Bode Museum Berlin, 1704. Photo: mine. Please do not reproduce without permission.

A new year is a good time for assessments and remembrances, for reflecting on moments good, bad, and otherwise. As well as a desire to keep more cultural experiences within the personal realm, I’d prefer look ahead, to things that spark my imagination and inspire expansion, challenge, and evolution.

Earlier this year a friend observed that my tastes have become (his words) “more adventurous” over the past eighteen months or so. Flattering as this is, it’s also a reminder of the extent to which I have layered over my past, one largely spent wandering through the vast, lusciously dark forests of curiosity and wonder. Decades of weighty responsibility cut that forest down and gave me a deep trunk, into which all the unfinished canvases of a fragrant, lush wonder were stored; I came to believe, somehow, such a trunk had no place in the busy crowded living room I’d been busily filling with the safe, acceptable predictability of other peoples’ stuff. My mother’s passing in 2015 initially created a worship of ornate things from her trunk — perhaps my attempt to raise her with a chorus of sounds, as if I was Orpheus, an instinct based more in the exercise of sentiment than in the embrace and extension of soul.

Contending with a tremendous purge of items from the near and distant past has created a personal distaste for the insistent grasping and romanticizing of history (though I do allow myself to enjoy some of its recorded splendor, and its visual arts, as the photos on this feature attest). Such romanticizing utterly defines various segments of the opera world, resulting in various factions marking themselves gatekeepers of a supposedly fabled legacy which, by its nature, is meant to shape-shift, twist, curl, open, and change. It’s fun to swim in the warm, frothy seas of nostalgia every now and again, but mistaking those waves for (or much less preferring them to) the clear, sharp coldness of fresh water seems a bit absurd to me. À chacun son goût, perhaps. 

kupka

František Kupka, Plans par couleurs, grand nu; 1909-1910, on loan to Grande Palais Paris; permanent collection, Guggenheim NYC. Photo: mine. Please do not reproduce without permission.

Rediscovering the contents of my own trunk, pulling each item out, examining it in the sunlight, looking at what it means now (if anything) and deciding whether to keep or bin, has been a slow if meaningful process; it has been a homecoming to myself, one groaning and gloriously stretching with every breath. Refreshingly, such a process has not been defined by the rather narrow tastes of a somewhat culturally dictatorial mother, but by things I like, things I miss, things have no need to feel validated for liking.

“You’re so serious,” I was once told, “serious and critical and intellectual.”

I don’t know if any of these things are (or were) true, but making a point of experiencing the work of artists who reveal and inspire (and challenge and move) has become the single-biggest motivating factor in my life. “Adventurous” is less a new fascinator than an old (and beloved) hat. Here’s to taking it out of the trunk, and wearing it often and well in 2019. 

Verdi, Messa da Requiem; Staatsoper Hamburg, January

The year opens with an old chestnut, reimagined by director Calixto Bieito into a new, bright bud. Bieito’s productions are always theatrical, divisive and deeply thought-provoking. Doing a formal staging Verdi’s famous requiem, instead of presenting it in traditional concert (/ park-and-bark) mode, feels like something of a coup. Paolo Arrivabeni conducts this production, which premiered in Hamburg last year, which features a stellar cast, including the sonorous bass of Gabor Bretz.

despair

Jean-Joseph Perraud, Le Désespoir; 1869, Paris; Musée d’Orsay. Photo: mine. Please do not reproduce without permission.

Tchaikovsky/Bartok, Iolanta / Bluebeard’s Castle, NYC, January

A double-bill exploring the various (and frequently darker) facets of human relating, this Marius Treliński production (from the 2014-2015 season) features soprano Sonya Yoncheva and tenor Matthew Polenzani in Tchaikovsky’s one-act work; baritone Gerald Finley and soprano Angela Denoke perform in Bartók’s dark tale of black secrets, last staged at the Met in early 2015. The orchestra could well be considered a third character in the work, so rich is it in coloration and textures.  No small feat to sing either, as music writer Andrew McGregor has noted that “the music is so closely tied to the rhythms and colours of the Hungarian language.” Henrik Nánási, former music director at Komische Oper Berlin, conducts.

Vivier, Kopernikus; Staatsoper Berlin, January

Spoiler: I am working on a feature (another one) about the Quebec-born composer’s influence and the recent rise in attention his work have enjoyed. Kopernikus (subtitle: Rituel de Mort) is an unusual work on a number of levels; composed of a series of tableaux, there’s no real narrative, but an integration of a number of mythological figures as well as real and imagined languages that match the tonal colors of the score.  This production (helmed by director Wouter van Looy, who is Artistic Co-Director of Flemish theatre company Muziektheater Transparant) comes prior ahead of a production the Canadian troupe Against the Grain (led by Joel Ivany) are doing in Toronto this coming April.

Vustin, The Devil in Love; Stanislavsky and Nemirovich-Danchenko Moscow Academic Music Theatre, February

It was while investigating the work of Russian composer and pianist Rodion Shchedrin that I learned about the work of contemporary composer Alexander Vustin — and became utterly smitten with it. A composer who previously worked in both broadcasting and publishing, Vustin’s opera is based on the 1772 Jacques Cazotte novel Le Diable amoureux, which revolves around a demon who falls in love with a human. Vustin wrote his opera between 1975 and 1989, but The Devil in Love will only now enjoy its world premiere, in a staging by Alexander Titel (Artistic Director of the Stanislavsky Opera) and with music direction/conducting by future Bayerische Staatsoper General Music Director Vladimir Jurowski.

zurich opera

Inside Opernhaus Zurich. Photo: mine. Please do not reproduce without permission.

Ligeti, Le Grand Macabre; Opernhaus Zurich, February

The Opernhaus Zurich website describes this work, which is based on a play by Belgian dramatist Michel de Ghelderode, as “one of the 20th century’s most potent works of musical theatre.” It is also one of the most harrowing things I’ve seen; anyone who’s experienced it comes away changed. Directed by Tatjana Gürbaca (who’s directed many times in Zurich now), the work is, by turns, coarse, shocking, cryptic, and deliciously absurd. General Music Director Fabio Luisi (who I am more used to seeing conduct Mozart and Verdi at the Met) was to lead what Ligeti himself has called an “anti-anti-opera”; he’s been forced to cancel for health reasons. Tito Ceccherini will be on the podium in his place.

Zemlinsky, Der Zwerg; Deutsche Oper Berlin, February

Another wonderfully disturbing work, this time by early 20th century composer Alexander von Zemlinsky, whose “Die Seejungfrau” (The Mermaid) fantasy for orchestra is an all-time favorite of mine. Der Zwerg, or The Dwarf, is an adaptation of Oscar Wilde’s disturbing short story “The Birthday of the Infanta” and is infused with the sounds of Strauss and Mahler, but with Zemlinsky’s own unique sonic richness. Donald Runnicles (General Music Director of the Deutsche Oper ) conducts, with powerhouse tenor David Butt Philip in the title role, in a staging by Tobias Kratzer, who makes his DO debut.

lucke grimace

Johann Christian Ludwig Lücke , Bust of a Grimacing Man with a Slouch Hat; 1740, Elfenbein; Bode Museum, Berlin. Photo: mine. Please do not reproduce without permission.

Kurtág, Fin de Partie; Dutch National Opera, March

Among the many music happenings of late which could be called an event with a capital “e”, this one has to rank near the top. Ninety-one year-old composer György Kurtág has based his first opera on Samuel Beckett’s 1957 play Endgame. Premiering at Teatro Alla Scala in November, music writer Alex Ross noted that “(n)ot since Debussy’s  “Pelléas et Mélisande” has there been vocal writing of such radical transparency: every wounded word strikes home.” Director Pierre Audi and conductor Markus Stenz (chief conductor of the Netherlands Radio Philharmonic Orchestra) bring Kurtág’s painfully-birthed opera to Amsterdam for three (nearly sold-out) dates.

Handel, Poros, Komische Oper Berlin, March

A new staging of a rarely-heard work by legendary opera director Harry Kupker, Handel’s 1731 opera based around Alexander the Great’s Indian campaign features the deep-hued soprano of Ruzan Mantashyan as Mahamaya and the gorgeously lush baritone of KOB ensemble member Dominik Köninger in the title role. Conductor Jörg Halubek, co-founder of the Stuttgart baroque orchestra Il Gusto Barocco (which specializes in forgotten works) makes his KOB debut. The combination of Kupfer, Handel, and Komische Oper is, to my mind, very exciting indeed.

woman bode

Southern Netherlands, Screaming Woman; late 16th century; Bode Museum, Berlin. Photo: mine. Please do not reproduce without permission.

Shostakovich, Lady Macbeth of Mtsensk; Opera National de Paris, April  

A new production of Shostakovich’s passionate, brutal, and darkly funny opera from innovative director Krzysztof Warlikowski, whose creative and thoughtful presentations have appeared on the stages of Bayerische Staatsoper, the Royal Opera, Teatro Real (Madrid), and La Monnaie (Brussels), to name a few. He also staged The Rake’s Progress in Berlin at Staatsoper im Schiller Theater. Here he’ll be directing soprano Ausrine Stundyte in the lead as the sexy, restless Lady, alongside tenor John Daszak as Zinovy Borisovich Ismailov (I really enjoyed his performance in this very role at the Royal Opera last year), bass (and Stanislavsky Opera regular) Dmitry Ulyanov as pushy father Boris, and tenor Pavel Černoch as the crafty Sergei. Conductor Ingo Metzmacher is on the podium.

Berlioz, La damnation de Faust; Glyndebourne, May

Glyndebourne Festival Music Director Robin Ticciati leads the London Philharmonic and tenor Allan Clayton (so impressive in Brett Dean’s Hamlet, which debuted at Glyndebourne in 2017) as the doomed title character, with baritone Christopher Purves as the deliciously diabolical Mephistopheles, and French-Canadian mezzo-soprano Julie Boulianne as Marguerite. I love this score, a lot, and quite enjoyed a 2017 staging at Opéra Royal de Wallonie. Likewise the work of director Richard Jones, whose Lady Macbeth of Mtsensk at the Royal Opera last year afforded some very creative choices and character insights; I’m very curious how he might approach Berlioz’s dreamy, surreal work, together with Ticciati’s signature lyrical approach.

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Pair of Hands from a group statue of Akhenaten and Nefertiti or two princesses; Neues Reich 18 Dynastie. At the Neues Museen, Berlin. Photo: mine. Please do not reproduce without permission.

Gluck, Alceste; Bayerische Staatsoper, May

A new production of Gluck’s opera about self-sacrificing love with a fascinating backstory: after its publishing in 1769, a preface was added to the score by Gluck and his librettist which outlined ideas for operatic reform. The list included things like making the overture more closely linked with the ensuing action, no improvisation, and less repetition within arias. Alceste came to be known as one of Gluck’s “reform” operas (after Orfeo ed Euridice). Two decades later, Mozart used the same chord progressions from a section of the opera for a scene in his Don Giovanni, which Berlioz called “heavily in-inspired or rather plagiarized.” The Bavarian State Opera production will feature a solid cast which includes tenor Charles Castronovo, soprano Dorothea Röschmann,  and baritone Michael Nagy, under the baton of Antonello Manacorda.

Handel, Belshazzar; The Grange Festival, June 

Described on The Grange’s website as “an early Aida,” this rare staging of the biblical oratorio sees a cast of baroque specialists (including tenor Robert Murray in the title role and luminous soprano Rosemary Joshua as his mother, Nitocris) tackling the epic work about the fall of Babylon, and the freeing of the of the Jewish nation. Musicologist Winton Dean has noted the work was composed during “the peak of Handel’s creative life.” Presented in collaboration with The Sixteen, a UK-based choir and period instrument orchestra, the work will be directed by Daniel Slater (known for his unique takes on well-known material) and will be led by The Sixteen founder Harry Christophers.

Festival Aix-en-Provence, July

The final collaboration between Kurt Weill and Bertolt Brecht (and the source of the famous “Alabama Song”), Rise and Fall of the City of Mahagonny will be presented in a new production featuring the Philharmonia Orchestra, led by Esa-Pekka Salonen. Director Ivo van Hove (whose Boris Godounov at the Opera de Paris this past summer I was so shocked and moved by) helms the work; casting has yet to be announced. Music writer Rupert Christiansen has noted that it “remains very hard to perform […] with the right balance between its slick charm and its cutting edge.” Also noteworthy: the French premiere of Wolfgang Rihm’s one-act chamber opera Jakob Lenz, based on Georg Büchner’s novella about the German poet. (Büchner is perhaps best-known for his unfinished play Woyzeck, later adapted by Alban Berg.) Presented by Ensemble Modern, the work will be helmed by award-winning director Andrea Breth and conducted by Ingo Metzmacher. This summer’s edition of the festival marks Pierre Audi’s first term as its new Director, and all five productions being staged are firsts for the fest as well.

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Sphinx of Shepenupet II, god’s wife of Amon; late period 25th Dynasty, around 660 B.C.; Altes Museum, Berlin. Photo: mine. Please do not reproduce without permission.

Enescu,Œdipe; Salzburger Festspiele, August

The Romanian composer’s 1931 opera based on the mythological tale of Oedipus is presented in a new production at the Salzburg Festival and features a stellar cast which includes bass John Tomlinson as the prophet Tirésias, mezzo-soprano  as Jocasta, mezzo soprano Clémentine Margaine (known for her numerous turns as Bizet’s Carmen) as The Sphinx, baritone Boris Pinkhasovich as Thésée, and baritone Christopher Maltman in the title role. In writing about Enescu’s score, French music critic Emile Vuillermoz noted that “(t)he instruments speak here a strange language, direct, frank and grave, which does not owe anything to the traditional polyphonies.” Staging is by Achim Freyer (who helmed a whimsical production of Hänsel and Gretel at the Staatsoper Berlin), with Ingo Metzmacher on the podium.

Schoenberg, Moses und Aron; Enescu Festival, September

In April 1923, Schoenberg would write to Wassily Kandinsky: “I have at last learnt the lesson that has been forced upon me this year, and I shall never forget it. It is that I am not a German, not a European, indeed perhaps scarcely even a human being (at least, the Europeans prefer the worst of their race to me), but that I am a Jew.” The ugly incident that inspired this would result in his mid-1920s agitprop play Der biblische Weg (The Biblical Way), from which Moses und Aron would ultimately spring. Essentially a mystical plunge into the connections between community, identity, and divinity, this sonically dense and very rewarding work will be presented at the biennial George Enescu Festival, in an in-concert presentation featuring Robert Hayward as Moses and tenor John Daszak as Aron (a repeat pairing from when they appeared in a 2015 Komische Oper Berlin production), with Lothar Zagrosek on the podium.

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Post-opera strolling in Wexford. Photo: mine. Please do not reproduce without permission.

Wexford Festival Opera, October

It’s hard to choose just one work when Wexford is really a broader integrative experience; my visit this past autumn underlined the intertwined relationship between onstage offerings and local charms. The operas being presented at the 2019 edition include Der Freischütz by Carl Maria von Weber, Don Quichotte by Jules Massenet (which I saw, rather memorably, with Ferruccio Furlanetto in the lead), and the little-performed (and rather forgotten) Adina by Gioacchino Rossini, a co-production with Rossini Opera Festival. The latter will be paired with a new work, La Cucina, by Irish composer Andrew Synnott.

Strauss, Die ägyptische Helena; Teatro Alla Scala, November

A reimagining the myth of Helen of Troy (courtesy of Euripides) sees Paris seduce a phantom Helen created by the goddess Hera, while the real thing is held captive in Egypt until a long-awaited reunion with her husband Menelas. In a 2007 feature for the New York Times (published concurrent to a then-running production at the Met), music critic Anthony Tommasini characterized Hugo von Hofmannsthal’s libretto as “verbose and philosophical,” and posed questions relating to Strauss’s score thusly: “Is a passage heroic or mock-heroic? Opulently lyrical or intentionally over the top?” I suspect those are precisely the questions the composer wanted to be raised; he questions not just the tough questions around intimate relating, but ones connected with audience and artist. The piece features some breathtaking vocal writing as well. Sven-Eric Bechtolf (whose Don Giovanni I so enjoyed at Salzburg in 2016) directs, and Franz Welser-Möst leads a powerhouse cast that includes tenor Andreas Schager, baritone Thomas Hampson, and soprano Ricarda Merbeth as the titular Helena. This production marks the first time Die ägyptische Helena has been presented at La Scala.

Oskar Kallis, Sous le soleil d’été; 1917, on loan to Musée d’Orsay; permanent collection, Eesti Kunstimuuseum, Tallinn.

Messager, Fortunio; Opéra-Comique, December

I freely admit to loving comédie lyrique; the genre is a lovely, poetic  cousin to operetta. Fortunio, which was premiered in 1907 by the Opéra-Comique at the Salle Favart in Paris, is based on the 1835 play Le Chandelier by Alfred de Musset and concerns a young clerk (the Fortunio of the title) caught in a web of deceit with the wife of an old notary, with whom he is enamored. Gabriel Fauré, who was in the opening night audience (along with fellow composers Claude Debussy and Gabriel Pierné) noted of André Messager (in a review for Le Figaro) that he possessed “the gifts of elegance and clarity, of wit, of playful grace, united to the most perfect knowledge of the technique of his art.” This production, from 2009, reunites original director Denis Podalydès with original conductor Louis Langrée. Paris en décembre? Peut-être!

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Auguste Herbin, Composition; 1928, Musée d’Art Moderne de la Ville de Paris. Photo: mine. Please do not reproduce without permission.

This list may seem extensive, but there’s so much I’ve left out — festivals like Verbier and Les Chorégies d’Orange, houses like Wiener Staatsoper and Teatro Real, outlets in Scandinavia (Den Norske, Royal Swedish Opera, Savonlinna) and Italy (Pesaro, Parma) and the UK (Aldeburgh, Garsington, ENO, and of course the Royal Opera). It’s still too early for many organizations to be announcing their upcoming (September and beyond) seasons; I’m awaiting those releases, shivering, to quote Dr. Frank-n-furter, with antici…pation.

And, just in the interests of clarifying an obvious and quite intentional omission: symphonic events were not included in this compilation. The sheer scale, volume, and variance would’ve diffused my purposeful opera focus. I feel somewhat odd about this exclusion; attending symphonies does occupy a deeply central place for me on a number of levels, as it did throughout my teenaged years. Experiencing concerts live is really one of my most dear and supreme joys. I may address this in a future post, which, as with everything, won’t be limited by geography, genre, range or repertoire. In these days of tumbling definitions and liquid tastes , it feels right (and good) to mash organizations and sounds against one another, in words, sounds, and spirit.

For now, I raise a glass to 2019, embracing adventure — in music, in the theatre, in life, and beyond. So should you. Santé!

Vladimir Jurowski: “I Can Surprise People And Also Be Surprised Myself”

By

On May 8, 2018

In classical, Europe, interviews, music, opera, symphony

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Photo: (c) Simon Pauly

2018 has been a busy one for Vladimir Jurowski. Since I interviewed the Moscow-born conductor about composer Claude Vivier in February, he’s been on a non-stop train of events, announcements, and ceremonies. He was in the middle of a very hectic spring tour with the Gustav Mahler Youth Orchestra when news came that he’d won the Conductor of the Year at the 2018 International Opera Awards. On May 9th, he won the prestigious Royal Philharmonic Society (RPS) Music Awards for Conductor. The Awards, described as “the Oscars, the BAFTAs and the Grammys all in one” for classical music, were broadcast on BBC Radio 3 recently.

Currently in Paris preparing a new production of Mussorgsky’s historical drama Boris Godunov with Belgian director Ivo van Hove, the conductor — well-read, artistically adventurous, very articulate — is on the cusp of entering something of a new world. It March it was announced that he’ll become the next General Music Director of the prestigious Bayerische Staatsoper (Bavarian State Opera), alongside Serge Dorny (currently Director of the Opéra National de Lyon), as Intendant in the 2021-2022 season. He’ll also lead a new production of Strauss’s Der Rosenkavalier, directed by Komische Oper Berlin Intendant Barry Kosky, opening at the famed Munich house in the first half of 2021.

I write “something of a new world” because, of course, Jurowski has been immersed in various facets of the new throughout his life. Raised in Moscow, the son of a conductor and hailing from a long line of artists and musicians, Jurowski and his family moved to Germany as a teenager; not long after, he had his first opera conducting job at the Wexford Festival Opera, and then made his Royal Opera House debut (with Verdi’s Nabucco) in 1996. From there, Jurowski developed something of a “wunderkind” reputation, but proved, with great flair and a creative confidence, that he was far more than a youthful flash-in-the-pan. Among many appointments, he was, from 2001 to 2013, Music Director of the Glyndebourne Festival Opera, a celebrated summer event known for its theatrical and musical adventurousness. Last year he returned there to conduct the world premiere of Hamlet — based on the famous Shakespeare work —by Australian composer Brett Dean. (I liked this.) He’s made celebrated recordings and led performances of both opera and symphonic repertoire at a variety of famous houses, including numerous appearances at the Metropolitan Opera.

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Lights at the Metropolitan Opera House. (Photo: mine. Please do not reproduce without permission)

In 2013, his reading of Die frau ohne Schatten (The Woman Without A Shadow) was hailed (rightly) by critics, and remains, one of my most cherished musical experiences — one that, in fact, opened the door to my hearing and feeling Strauss in a way I, being raised on a diet of melodious opera chestnuts by a Verdi-obsessed mother, hadn’t dreamed could ever be possible. The opera is lengthy, but time flew by that particular evening, and I remember the mix of feelings I experienced at its end (joy, sadness, contemplation) — but mainly, I remember the wordless…  ecstasy.

Whether it’s Sleeping Beauty or Petrushka, Stravinsky or Prokofiev, Brahms or Bruckner, Jurowski is an artist who sees no lines between the thinking and the feeling aspects of music-making, and indeed, music experiencing. Heaven and earth, Emotion and intellect, heart and mind, flesh and spirit; these things are not separate to or within Jurowski’s artistry or approach. It makes his work exciting to experience, and sometimes, even life-changing.

As such, it logically follows that he’s busy. Titles include being Principal Conductor of the London Philharmonic Orchestra (LPO), Principal Artist of the Orchestra of the Age of Enlightenment (OAE), Artistic Director of both the State Academic Symphony Orchestra of Russia (Evgeny Svetlanov), and Artistic Director of the George Enescu International Festival in Romania. As of last fall, he is also Chief Conductor and Artistic Director of the Rundfunk-Sinfonieorchester Berlin (RSB), who announced their new (and very creative) season just days after we spoke in Berlin earlier this year.

Once I flipped through the immense program (which came bound by a plantable peppermint seed wrapper), I wanted to chat with him again, about the new season and its clear underpinnings in social consciousness – as well as about the LPO, and most especially the Munich appointment. Opera people like to talk (and/or argue) about the relative merits of updating works, the need to attract new audiences, and what role (or not) tradition might play. If you asked a classical music person what needs to happen in opera, you’d get a predictably wide array of opinions. I wanted to ask Jurowski the implications of bringing a forward-looking ethos to Munich, one of the most famous of houses, and discuss the expectations being brought to an art form that has, at various points and locales, been the antithesis of innovation.

Rundfunk-Sinfonieorchester Berlin - Antrittskonzert von Vladimir Jurowski

Vladimir Jurowski leading the Rundfunk-Sinfonieorchester Berlin in September 2017 as part of Musikfest Berlin. Photo: (c) Kai Bienert

There’s a real thread of social conscience in the new RSB season — the theme of “humans and their habitats” features strong ideas around nature and responsibility, both in the music and in the extracurricular programming choices. Why this theme, now?

Well, I do not believe that music can alleviate societal ills. I don’t believe classical music can cure anything in society or change people We know about so many terrible human beings who were classical music fans, including Hitler, Goebbels and Stalin; they loved their classical music and it didn’t make them better people in terms of their behaviour. We also know Nazi doctors had classical music playing while executing their terrible experiments. My personal feeling is that we should make classical music again become an important, ideally an indispensable, part of our communal life. Obviously we cannot quite reach the status of classical music in the 19th century, where it was the central social event, but we can at least refer back to not-so-distant past. For instance, back in 1989, when the uprising started in Eastern Germany and there was a real fear of the Eastern German government employing military force against people on the street, it was Kurt Masur who made the Gewandhaus the place of peaceful discussions — he agreed with the government and authorities that there would be no weapons used. So music can become the “territory of peace” even at times of war. The main ability of music is to establish a non-verbal communication between people and make them forget, for a while, their day-to-day existence in favour of higher realms of beauty and truth which music is able to communicate.

My main aim is to show to people that (classical musicians) can be an important part of this society, but we cannot expect people to come to us, we have to go out. That’s the difference today. We have to compete on so many levels, with social media and various types of mechanical reproduction of music; musicians who create live music have to make their — our — concerts indispensable events, and one of the ways to attract audiences is pulling their attention at certain aspects of our life and society, which are not directly related to music but have a universal impact on the entire life. One of those aspects is nature; the idea to make a whole season dedicated to nature is because it is something that concerns us all, none of all can exist in this world without nature intact and functioning. Because there is so much music inspired by nature, why not try and inspire more people to be more conscious and more active in protecting the environment through the classical form?

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Photo: (c) Roman Gontcharov

Your new partner in Munich, Serge Dorny, said in an interview recently that “we cannot simply experience the Arts as goods to be consumed. The Arts should oblige people to think and ask questions and maybe fundamentally change people’s perceptions. It doesn’t mean we give answers but I hope the way you emerge from a performance has made a difference to your life and that it has changed your perception.”  To my mind, that complements something Graham Vick said at the International Opera Forum in Madrid, that perceptions have to be actualized in practises, productions, and operations.

I agree in principal with Serge, and I have always been saying the same thing. I’m against the consumption of the art; I’m for the active co-involvement of the audience, because obviously that’s how I’ve been raised myself. When listening to a concert, I participate actively via listening, feeling, and thinking. And I like Graham Vick’s work a lot – I’ve done a lot of opera with him, and I completely share his political and social views on these things. I think there’s a lot we can do if we stop seeing only the entertainment side of art. Of course there has to be the entertainment there somewhere, and there has to be a lot of beauty in what with do, but if it’s only about beauty, and nothing about the truth of life, then I think there is no real way forwards.

You said in an interview last year that you hope to inspire people to think for themselves, outside of a herd mentality,away from a knee-jerk reaction. That feels as if it’s reflected in your programming at both at the RSB and the LPO.

I think it’s always two sides: one thing is thinking for yourself, the other is feeling for yourself. That means not coming to a concert with a programmed expectation of an ecstasy at the end. You don’t know what it is — let yourself be surprised, and maybe even shocked! I think there is a real deficit of real emotion nowadays. We are dealing with so much surrogate emotion, and surrogate feeling in day-to-day life, and particularly in the mass media; it’s highly important to provoke real feelings. I was speaking earlier today with Dmitri Tcherniakov, and he said, “You know, it’s an exhilarating feeling when I bring to a whole audience of 2000 people an opera score they haven’t heard before.” He was referring to Rimsky-Korsakov’s La Fille de neige which he did recently in Paris, and is still an unknown piece in France and many other countries. That’s what I am hoping I can continue so long as I am actively involved in musical life, be it in concerts now in Berlin, London, or Moscow  — or future opera in Munich: I can surprise people and also be surprised myself.

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The exterior of the Bavarian State Opera, Munich. Photo: © Wilfried Hösl

There was so much hand-wringing over the retirement of the Schenk production of Die Rosenkavalier in Munich. It’s as if people have already made their minds up about the version you’ll be doing with Barry Kosky in 2020.

Yes, but it’s always been like this. It’s still like this with the classical ballet, in fact it’s much worse in the blogs. I know that because my daughter always tells me how frustrating she finds reading those classical ballet blogs; people don’t want any innovation at all, they don’t want any new reading of Sleeping Beauty or Swan Lake because it would insult the gods somehow.

“I want elephants in my Aida!”

Yes! But to be fair, I also have been through this myself, because as a kid, I used to go into the Stanislavsky Theatre where my dad was conducting, and since the age of six would watch the Eugene Onegin production by Konstantin Stanislavsky from, believe it or not, 1922. So the year I was born, this production had celebrated its 50th birthday already; by the time I came to watching the production it was already approaching 60… I loved that production. It was also the only one I knew of Onegin. I watched it again on DVD (as an adult), a filming of this same later performance from the 1990s, and I couldn’t watch without a smile, even where a smile was not very appropriate, simply because it suddenly felt so dated. I think it is the nature of theatre: the innovation becomes tradition and then gets old-fashioned. If we were to look at the great theatre productions of, say, Vsevolod Meyerhold or Max Reinhardt, or Giorgio Strehler or Luca Ronconi — great revolutionaries of their time — most probably we would find their productions hopelessly dated today because they were very much products of their time. It’s a natural process and one has to endure a certain amount of moaning and criticism from people who don’t want to see anything else; eventually they get used to it.

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A scene from the Lev Dodin production of Pique Dame. (Photo: @Elisa Haberer, Opéra national de Paris, 2011-2012 season)

I remember when I conducted a staging of Tchaikovsky’s Pique Dame by (director) Lev Dodin in Paris in 1999, and we were booed every night, every single night, at the Bastille. Two years later, we revived it, and there was no booing… and then this production became a fashion. Now people will be moaning if they decide to stop the production.

New theatre has to offend, insult and shock, then the audience — and critics — gets used to it and eventually becomes so dependent that would not want to see anything else — that’s how it usually happens. So letting go of old theatre productions is more or less like accepting the sad truth that your older relatives, however much you love them, will age and die one day because it’s a universal law. One grows to accept those things.

But I think it’s hard for new and younger audiences. I asked my students what they think of when I play opera documentaries, and it’s always, “Wigs! Corsets! Big dresses!” That’s the automatic association with opera. 

Every process of innovation takes time, but for me it’s highly important that new audiences come to opera not just because they want to see elephants and camels in Aida, or the Kremlin, cossacks and the boyars’ dresses in Boris Godunov — but in order to witness the human drama of two people falling in love in the middle of a war and thus becoming traitors of their people, or the struggle of a man at a peak of his power against his own conscience. (Boris Godunov) is about our times as well as about 1604, as it was about Pushkin’s time when he was writing it 1825, or Mussorgsky when he was writing the opera in 1869. Times change, but peoples’ characters don’t change. Do people come to Shakespeare only to see the Elizabethan costumes? I hope not.

How does locale influence this kind of approach? I would think Moscow-Berlin-London have really left their mark on you as an artist.

I am highly adaptable to various cultural habitats. Obviously the fact that I left my native country at 18 has contributed partly to this adaptability and the chosen profession and all the travelling which came with it made me even more of a cosmopolitan. I enjoy learning new languages and studying people and their cultural traditions in the countries where I have lived and worked – today I could survive in almost any culture. I never prepare myself specifically for a new working situation; the only thing I study before I go to a new place is a little bit of the language and a little bit of the history. Then I simply wait for my first impressions of the place, of the new situation before I decide how to act further.

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Photo: (c) Simon Pauly

It’s very similar to performing in a new hall or theatre: you play a note or a musical phrase, and then you wait for the return of the sound, for the resonance and then you react accordingly… what I can offer to any new place is my artistic vision, which is roughly always the same, but “many paths can lead to Rome” as they say, so I am prepared to amend my path if I see there is a short cut. Munich will be different to Berlin, London and Moscow, and yet, you know, we’re all humans and we all love music and theatre — there is something we all have in common and we share.

Finding Grace

By

On November 16, 2015

In ballet

Dancer Piotr Stanczk in The Winter’s Tale. Photo by Karolina Kuras.

The recent opening of The Winter’s Tale at the Four Seasons Centre for the Performing Arts in Toronto was preceded by an announcement that the performance would be dedicated to the victims of the Paris attacks, which had occurred just one night before. The National Ballet of Canada’s winter season was off to a sombre start, though the beauty of the Christopher Wheeldon-choreographed piece shone through mightily.

Adapted from Shakespeare’s 1611 play The Winter’s Tale (on now through November 22nd) focuses on Leontes (Piotr Stanczyk), King of Sicilia, who accuses his pregnant wife, Hermione (Hannah Fischer) of being unfaithful with his friend Polixenes (Harrison James), King of Bohemia. Hermione gives birth to a girl, but she faints at the shock of seeing her son, Mamilius, fall dead at her trial. Despite the pleas of Hermione’s friend Paulina (Xiao Nan Yu), Leontes orders the baby girl to be abandoned in a remote place; the child is found by a shepherd and his son, and is raised in Bohemia, where, sixteen years later, unaware of her parentage, Perdita (Jillian Vanstone) becomes engaged to Prince Florizel (Naoya Ebe), the son of Polixenes. The King violently objects to the union, thinking Perdita a mere shepherdess, and the pair flee, with Polixenes in hot pursuit. The couple wind up in Sicilia, where they are sheltered by Leontes, who only learns of Perdita’s identity through an emerald necklace he’d once given Hermione, one his daughter now wears as a gift from her fiance. The two Kings are reunited, and the pair are married. As festivities die down, Paulina leads Leontes to a statue of Hermione, one that proves to be considerably warmer than mere stone.

The work, while categorized as a comedy, is, like many Shakespearean comedies, less of a laugh-out-loud experience and more of a thought-provoking dramatic meditation. The adaptation beautifully, imaginatively captures the heaving emotions that run throughout the original, whether expressed in grand design (Bob Crowley’s sail work, together with the silk effects design work of Basil Twist is especially inventive) or intimate lighting (by Natasha Katz). Wheeldon’s choreography pulls no punches when it comes to portraying Leontes’ rage and suspicion; the King’s wild imaginings are presented in a way that clearly, forcefully implies an unhinged fear sitting at the heart of his character, one that is ultimately very destructive in both the real and spiritual senses. I thought about this rage expressed through movement, as Stanczyk stalked around the stage, expertly tossing Fischer this way and that in a perfectly executed pairing that brilliantly married skill and emotion. He, and his fine colleagues, are just as much actors as they are dancers. This makes the piece as much of a theatrical event as a dance one, as many of the best ballet works often are. In this instance, the seamless marriage of the two is poetic and deeply moving.

What’s more, for all its fantastical elements and outlandish The Winter’s Tale has real-world corollaries. Who among us hasn’t felt distrustful? Or suspicious? Who hasn’t done or done things they later deeply regret? The piece asks us to consider these questions, as we observe the expression of so many deeply recognizable emotions manifest entirely through that frail, entirely vulnerable vehicle, the human body. The choreography presents a clear narrative and even clearer emotional weight, allowing the movement to accentuate the inherent tragedy of the piece, and heightening the emotional gravity of its conclusion.

Dancers Hannah Fischer and Piotr Stanczyk. Photo by Karolina Kuras.

The Winter’s Tale left me with many questions, particularly in light of the previous evening’s horror, one that wasn’t, I suspect, very far from the thoughts of cast, crew, and audience members as well. Witnessing the rage of Leontes, and then Polixenes, the unfounded fears of each, the anger so horribly manifest, was enough to give one pause. Where does it comes from, this rage? Why does it stay? How does it grow? What ways does it manifest and then fester through the ages? These questions haunted me as I sat at the Four Seasons Centre, a mere twenty-four hours after the horror of the bombings, as losses were still being counted and fingers of accusation were being pointed. How do we find grace at such moments? The ballet’s closing scenes, of Leontes realizing Hermione has been alive this whole time, and her actually forgiving him his rage, inspired breath-holding, tear-welling, and finally, a long, deep sigh. Joby Talbot’s jagged, propulsive, Glass-inspired score gave way to Bernstein-inflected romanticism and Debussy-esque impressionism, and Wheeldon’s keen footwork, together with the clever staging of Jacquelin Barrett and Anna Délicia Trévien, made this intimate, holy moment between Leontes and his wife a moment to cherish, both within the piece itself and outside, to carry around like Perdita’s emerald necklace. I want to live in the state of grace Leontes has so clearly found in that moment.

Finding that grace isn’t easy, however. Amidst horror, we can’t simply grab a handful of goo labelled “grace” sitting in a tin on a dusty shelf, stuff it in our pockets, walk out the door, and think that by the stains on our trousers and the trail we leave behind we’re doing any good; that isn’t how grace works. Likewise forgiveness, grace’s nearest sibling: it takes a big heart to admit wrongs done against us, acknowledge them, and move past our pain. One may not fully accept the atrocity committed against them, their friends, their city, their country — indeed, one may never accept, much less understand — and in no way does forgiving mean forgetting; rather, it is a tacit agreement to absolve hurt, freeze it cold, break its giant, Kraken-like body apart into a thousand pieces, and finally brush it away like so much unwanted dust. That hurt, while palpable and needy in its infancy, eventually grows into an unwieldy monster that serves no purpose and prevents forward momentum. Only forgiveness unties its chain, turns it to stone, and breaks it apart; grace is what happens when you can look at your dust-covered hands and smile.

Dancers Piotr Stanczyk and Hannah Fischer. Photo by Karolina Kuras.

The Winter’s Tale feels like the perfect piece for our times; wordless but saying so much, fragile but with so much anger, forceful and delicate at once, it is proof positive that culture is one of the things that makes sense amidst an age bereft of logic. There is no rationale for horror, but there is always a place for beauty. These sharp things we feel and experience as humans — rage, hurt, confusion, fear, remorse — are things culture captures and expresses and explores so well. We would do well to heed the idea that art has the capacity to heal, now more than ever.

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