Recently in Reviews

ETO Autumn 2020 Season Announcement: Lyric Solitude

English Touring Opera are delighted to announce a season of lyric monodramas to tour nationally from October to December. The season features music for solo singer and piano by Argento, Britten, Tippett and Shostakovich with a bold and inventive approach to making opera during social distancing.

Love, always: Chanticleer, Live from London … via San Francisco

This tenth of ten Live from London concerts was in fact a recorded live performance from California. It was no less enjoyable for that, and it was also uplifting to learn that this wasn’t in fact the ‘last’ LfL event that we will be able to enjoy, courtesy of VOCES8 and their fellow vocal ensembles (more below …).

Dreams and delusions from Ian Bostridge and Imogen Cooper at Wigmore Hall

Ever since Wigmore Hall announced their superb series of autumn concerts, all streamed live and available free of charge, I’d been looking forward to this song recital by Ian Bostridge and Imogen Cooper.

Henry Purcell, Royal Welcome Songs for King Charles II Vol. III: The Sixteen/Harry Christophers

The Sixteen continues its exploration of Henry Purcell’s Welcome Songs for Charles II. As with Robert King’s pioneering Purcell series begun over thirty years ago for Hyperion, Harry Christophers is recording two Welcome Songs per disc.

Treasures of the English Renaissance: Stile Antico, Live from London

Although Stile Antico’s programme article for their Live from London recital introduced their selection from the many treasures of the English Renaissance in the context of the theological debates and upheavals of the Tudor and Elizabethan years, their performance was more evocative of private chamber music than of public liturgy.

Anima Rara: Ermonela Jaho

In February this year, Albanian soprano Ermonela Jaho made a highly lauded debut recital at Wigmore Hall - a concert which both celebrated Opera Rara’s 50th anniversary and honoured the career of the Italian soprano Rosina Storchio (1872-1945), the star of verismo who created the title roles in Leoncavallo’s La bohème and Zazà, Mascagni’s Lodoletta and Puccini’s Madama Butterfly.

A wonderful Wigmore Hall debut by Elizabeth Llewellyn

Evidently, face masks don’t stifle appreciative “Bravo!”s. And, reducing audience numbers doesn’t lower the volume of such acclamations. For, the audience at Wigmore Hall gave soprano Elizabeth Llewellyn and pianist Simon Lepper a greatly deserved warm reception and hearty response following this lunchtime recital of late-Romantic song.

Requiem pour les temps futurs: An AI requiem for a post-modern society

Collapsology. Or, perhaps we should use the French word ‘Collapsologie’ because this is a transdisciplinary idea pretty much advocated by a series of French theorists - and apparently, mostly French theorists. It in essence focuses on the imminent collapse of modern society and all its layers - a series of escalating crises on a global scale: environmental, economic, geopolitical, governmental; the list is extensive.

The Sixteen: Music for Reflection, live from Kings Place

For this week’s Live from London vocal recital we moved from the home of VOCES8, St Anne and St Agnes in the City of London, to Kings Place, where The Sixteen - who have been associate artists at the venue for some time - presented a programme of music and words bound together by the theme of ‘reflection’.

Iestyn Davies and Elizabeth Kenny explore Dowland's directness and darkness at Hatfield House

'Such is your divine Disposation that both you excellently understand, and royally entertaine the Exercise of Musicke.’

Ádám Fischer’s 1991 MahlerFest Kassel ‘Resurrection’ issued for the first time

Amongst an avalanche of new Mahler recordings appearing at the moment (Das Lied von der Erde seems to be the most favoured, with three) this 1991 Mahler Second from the 2nd Kassel MahlerFest is one of the more interesting releases.

Paradise Lost: Tête-à-Tête 2020

‘And there was war in heaven: Michael and his angels fought against the dragon; and the dragon fought and his angels, And prevailed not; neither was their place found any more in heaven … that old serpent … Satan, which deceiveth the whole world: he was cast out into the earth, and his angels were cast out with him.’

Max Lorenz: Tristan und Isolde, Hamburg 1949

If there is one myth, it seems believed by some people today, that probably needs shattering it is that post-war recordings or performances of Wagner operas were always of exceptional quality. This 1949 Hamburg Tristan und Isolde is one of those recordings - though quite who is to blame for its many problems takes quite some unearthing.

Joyce DiDonato: Met Stars Live in Concert

There was never any doubt that the fifth of the twelve Met Stars Live in Concert broadcasts was going to be a palpably intense and vivid event, as well as a musically stunning and theatrically enervating experience.

‘Where All Roses Go’: Apollo5, Live from London

‘Love’ was the theme for this Live from London performance by Apollo5. Given the complexity and diversity of that human emotion, and Apollo5’s reputation for versatility and diverse repertoire, ranging from Renaissance choral music to jazz, from contemporary classical works to popular song, it was no surprise that their programme spanned 500 years and several musical styles.

The Academy of St Martin in the Fields 're-connect'

The Academy of St Martin in the Fields have titled their autumn series of eight concerts - which are taking place at 5pm and 7.30pm on two Saturdays each month at their home venue in Trafalgar Square, and being filmed for streaming the following Thursday - ‘re:connect’.

Lucy Crowe and Allan Clayton join Sir Simon Rattle and the LSO at St Luke's

The London Symphony Orchestra opened their Autumn 2020 season with a homage to Oliver Knussen, who died at the age of 66 in July 2018. The programme traced a national musical lineage through the twentieth century, from Britten to Knussen, on to Mark-Anthony Turnage, and entwining the LSO and Rattle too.

Choral Dances: VOCES8, Live from London

With the Live from London digital vocal festival entering the second half of the series, the festival’s host, VOCES8, returned to their home at St Annes and St Agnes in the City of London to present a sequence of ‘Choral Dances’ - vocal music inspired by dance, embracing diverse genres from the Renaissance madrigal to swing jazz.

Royal Opera House Gala Concert

Just a few unison string wriggles from the opening of Mozart’s overture to Le nozze di Figaro are enough to make any opera-lover perch on the edge of their seat, in excited anticipation of the drama in music to come, so there could be no other curtain-raiser for this Gala Concert at the Royal Opera House, the latest instalment from ‘their House’ to ‘our houses’.

Fading: The Gesualdo Six at Live from London

"Before the ending of the day, creator of all things, we pray that, with your accustomed mercy, you may watch over us."

OPERA TODAY ARCHIVES »

Reviews

Ian Storey as Tristan and Jayne Casselman as Isolde [Photo by Patrizia Lanna courtesy of Teatro Carlo Felice]
15 May 2010

Tristan und Isolde in Genoa

Tristan has been a fairly frequent visitor in Genoa over the past sixty years (post WW II). Tullio Serafin conducted the Isolde of Maria Callas there in 1948.

Richard Wagner: Tristan und Isolde

Tristan: Ian Storey; König Marke: Frode Olsen (Apr. 13, 16, 18) / Andrzej Saciuk (Apr. 28, 30 0; Isolde: Jayne Casselman (Apr. 13, 16, 18 ) / Elaine McKrill (Apr. 28, 30); Kurwenal: Jukka Rasilainen; Melot: Roberto Accurso; Brangäne: Hermine May (Apr. 18) / Monika Waeckerle (Apr. 28); A sailor: Antonio Poli; A steersman: Alessandro Battiato. Orchestra and Chorus of Teatro Carlo Felice. Conductor: Gianluigi Gelmetti. Stage Director: Gianluigi Gelmetti. Set Design: Maurizio Balò. Assistant Director: Eleonora Paterniti. Moviment: Daniela Biava. Lighting: Luciano Novelli.

Above: Ian Storey as Tristan and Jayne Casselman as Isolde

All photos by Patrizia Lanna courtesy of Teatro Carlo Felice

 

But not in La Superba’s famed old, bombed out Teatro Carlo Felice but in its post-war movie palace turned verismo temple, the famed Teatro Grattacielo. Since then Wagner’s love story has found its way into the Genovese repertory once each decade (except the ‘70‘s) and always in the hands of Viennese schooled conductors.

Until now, and barely in time for its once in-a-decade appearance, Genoa’s latest Tristan und Isolde is back in the hands of an Italian maestro, Gianluca Gelmetti, and back in the now bizarre post-modern decor of the reconstructed Carlo Felice.

Maestro Gelmetti’s Tristan (April 18) elevated Wagnerian music drama to pure melodramma, amplifying Wagner’s subtle, insidious musical continuum into a powerful voice that roared and whispered, grunted and snorted and joyously sang out this tale of love. The Wagnerian complexities were turned into pure emotional punch, bringing us forever to the edge, never of resolution but always of explosion. And like in real verismo there was a sudden, earth shattering blow, and release — the death of Tristan!

For this Italian maestro the northern shores of Cornwall (Cornovaglia in the supertitles) and the hull a Nordic ship were Tristan’s Isle of Circe where love seduces and ultimately destroys men. The maestro’s third act English horn (prominently seated just out of sight on the side of the stage apron) urgently sang out the Siren’s call, and a young boy stirred in the early morning light already magically drawn to her call. In the midst of Tristan’s delirium a Siren (a beautiful young woman in a white art nouveau gown) materialized in the upstage darkness, mimicking the now outrightly delirious English horn, bringing Tristan to climax and death. At Tristan’s release was the sudden coup de theatre — muscular, semi-nude young men materialized in the surreal shadow of the upstage black miming battle, the primal male force sacrificed to love by Tristan!

Fantastic music, fantastic theater and yes, great opera.

And yes, you have probably got it by now, this Tristan was staged by the maestro himself. But if ever a Tristan, Welsh tenor Ian Storey, and an Isolde, American soprano Jayne Casselmann, needed a stage director these were they. Neither artist, and they indeed are, are innate actors, or intuitive comedians. Left to their own devices neither could embody a Wagnerian hero (were Tristan’s hands actually in his pockets during the first act love delirium?), but they could sing.

Mme. Casselmann and Mr. Storey offered a gorgeously sung second act love duet, standing side by side downstage facing the maestro (actually holding hands), Wagner’s music fortunately dissolved into a vision in the black void beyond the stage of a semi-nude young male and female in rapturous embraces. Well it was glorious until Isolde was required to move above the staff, perhaps a domain once well within Mme. Casselmann’s reach but no longer.

Mr. Storey possesses a youthful voice of great strength and beauty that he used with considerable artistry throughout this daunting tenorial escapade. In this Tristan the third act delirium was more than contemplation or exposition of pain — it was at times chilling emotional outburst. And finally the maestro gave his soprano the unique opportunity of delivering the Liebestod not as a prayer but as a grand lament! Alas Mme. Casselmann does not have the means to exploit the Wagnerian line or the Gelmetti passion.

I[1]-1.Storey,-J.gifIan Storey as Tristan and Jukka Rasilainen as Kurwenal

The scenery and costumes came from the 1998 Carlo Felice production designed by Maurizio Balò. The primary image was the huge curving timbers of a timeless ship, the upper portions of which disappeared to create the second act garden and the horizon of the third act. The imposing celestial adornments of the 1998 production were left in the warehouse thereby exposing a heavenly void that would so effectively host Mo. Gelmetti’s apparitions.

The extreme cross-stage curve of the ship hull forced the always-forward-facing singers to stand with one foot higher than the other often resulting in distorted, crippled postures — an example of the hazards of recycling productions. As well this extreme curve forced a very restricted playing area down stage center, well serving the musical values of the production (singers’ gazes could only be directed onto Mo. Gelmetti) but limiting its dramatic perspectives.

Norwegian bass Frode Olsen rose to the occasion to make King Mark’s soliloquies far more passionate than eloquent. Romanian mezzo-soprano Hermine May was the most stage worthy of the afternoon’s artists in a beautifully drawn and sung Brangâne, eloquently proclaiming her guilt in creating this tragedy for which Mo. Gelmetti stopped just short of having Kurvenal, the rough voiced bass-baritone Finn Jukka Rasilainen, slit her throat. Italian tenor Roberto Accurso was the Melot, and more than any other of the artists suffered from poor costuming and lack of direction.

Conductor Gianluca Gelmetti delivered a unique reading of Wagner’s magnificent score that cried out for a production of equivalent daring. So let’s be daring — if we must recycle productions why not impose Pesaro’s super brilliant, critically reviled Zelmira of last summer onto the Gelmetti Tristan? Italian dramaturg and stage director Georgio Barberio Corsetti used a meshed floor, a sand covered under-stage, video projection and a giant mirror to move amongst real and irreale worlds, and confuse the confines between the pit and the stage. And Mr. Corsetti is a man of the theater who would have known how to stage those three incisive, shattering intrusions of King Mark into the psyches of Tristan and Isolde. One can dream.

ADDENDUM: April 28 performance

For some unpublicized reason Carlo Felice scheduled an hiatus of ten days after the third of its five Tristan performances. For the reprise on April 28 much of the cast had changed, most notably the Isolde, now English soprano Elaine McKrill. Mme. McKrill, a veteran of smaller roles in prestige Ring productions, is an accomplished and experienced artist who arrived in Genoa vocally and dramatically well prepared, and definitely rearing to give a fine performance. That she did.

While not a youngster Mme. McKrill is a youthful Isolde, her wiles more innocent than knowing, her musicality more urgent than considered. Thus she gave Mo. Gelmetti an Isolde more human than mythical — she was not the sorceress that Mo. Gelmetti might imagine if Wagner’s opera were only the Tristan tragedy. Mme. McKrill’s Liebestod was understood as a hymn to femininity, her tragedy felt as the impossibility of attaining the paramount feminine ideal. Both heroes of this Tristan were victims of love, Isolde learned that love was but a myth, Tristan understood that to love he would sacrifice his life.

Conductor Gelmetti again exploited the hair-trigger responsiveness of the Carlo Felice orchestra to give this Tristan an urgency that could only end in tragedy. But unlike most Tristans this Tristan was a deeply human experience and not just a grandiose celebration of Romantic love. The triumph of this production was its language, and that language was purely musical. Mo. Gelmetti’s means were a full-throated Italian orchestra as motor of this shattering tragedy, and in this performance a Tristan and Isolde who could voice its deeper meanings.

The scheduled tenor for this performance was replaced inexplicably by Ian Storey. The Kurwenal was again baritone Jukka Rasilainen. Mr. Rasilainen made an unobtrusive Kurwenal who structured perfectly the third act Tristan delirium without adding personal dimension. It was a superb and appreciated supportive performance. The balance of the cast seemed unconnected to the production. The Melot was an unforgivable black hole.

Michael Milenski

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):