Opera Now - July 2022

78 Pages·2022·19 MB·English

O www.operanow.co.uk July 2022
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THE OPERA LOVER’S ESSENTIAL GUIDE
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On the thrill of
playing opera’s
femmes fatales
Opera in
Latin America
A tale of revolution
and renewal
Beauty Secrets
A look behind the scenes
of the Hungarian State
Opera’s renovation
w
w PLUS
w
.o
pe Teresa Berganza: remembering a Spanish legend
r
a
n
o
w Meet Cameron Menzies: Northern Ireland Opera’s new broom 5
.co 6.9
.u £
k
Samson et Dalia
at the ROH • Czech discoveries • New Recordings • Worldwide Opera Guide
Opera meets flamenco
in this UK staged premiere
Theatre Royal Glasgow
29 October – 5 November
Festival Theatre Edinburgh
8 – 12 November
Book now
scottishopera.org.uk
THE FOUNTAIN OF TEARS
Ainadamar
mber SC019787
Osvaldo Golijov Nu
mber SC037531 Scottish Charity
Nu
AD enterwoi ct oO-ppreordau, Tcthioen M weitthro Oppoelirtaa nV eOnpteurrae s, Registered in Scotland
and Welsh National Opera
Supported by Scottish Opera’s New Commissions Circle
and Sarah and Howard Solomon Foundation
Core funded by
Contents
FRONT OF HOUSE
18 26
5 EDITORIAL
Hidden gems
6 LETTERS
Your views and suggestions
8 NEWS & NOTES
Remembering Anne Howells;
Scottish Opera launches 60th
anniversary season
REVIEWS
38-59 LIVE REVIEWS
Royal Opera House Samson
et Dalila (38); Teatro La
FeniceGriselda/ Faust (40/41) 30
ParisPlatée (Versailles)/
Fidelio (Seine Musicale)
(42/44); Salzburg Festival
Lohengrin (46) National
Theatre of Croatia MARTIN
LSail Tersaivaiant-aM (o48ra) v Niaant ional ‘On the whole, mezzos have iconic POPELAR
Theatre, OstravaThe Lord
roles – most of them femmes fatales
in White/ Betrothal in a Dream
(50/52) Dutch National
like Carmen, Eboli or Dalila, all
OperaAnna Bolena (54); UK
Fringe Opera: Opera della operatic cliché roles which carry 51
Luna; The Opera Story;
H60ur-n6 C2o RuErtC OOpRerDa I(N56G-5S9) SARAH KATHARINA a lot of baggage’
CONTENTS
New releases on CD & DVD
(56-61) including: Sondra
Radvanovsky’s Three Queens;
new recordings of Verdi’s
La traviata, Mozart’s Lucio glorious singer whose voice was
Silla and Wagner’s Tristan 10-16 Special Report: Opera in Latin America redolent of the culture of her
und Isolde from the Vienna native Spain
State Opera. Bellini’s I
30 Hungarian State Opera
Capuleti e i Montecchi and
One of the most beautiful opera
Prokoviev’s Fiery Angel
houses in the world has been
on DVD. Plus: Opera
restored to its former glory.
Now Choice: Wagner’s
Adrian Mourby looks at what’s
Tristan und Isolde from the
been happening behind the scenes
Staatsoper Berlin
in Budapest
36 Profile: Cameron
63-71 SPOTLIGHT Mackenzie
World Wide Opera Guide The Australian director on his
and answers to this issue’s plans for Northern Ireland Opera,
Quiz (p71) the UK’s youngest national
company
18 Cover feature: fatales who have become the
Elīna Garanča mainstay of her career 72 My Favourite Things
Latvian mezzo Elīna Garanča tells Stephen Lawless, opera director
Helena Matheopoulos about her 26 Legendary Singers:
approach to the morally confl icted Teresa Berganza 74 Quiz
and emotionally complex femmes Benjamin Ivry pays tribute to a Test your opera knowledge
COVER PHOTO: SARAH KATHARINA
www.operanow.co.uk OperaNow July 2022 3
The sound
of obsession
At Christopher Ward our designers are a little,
well, obsessive. Take the C60 Trident Pro 600 as proof.
So determined were the design team in England to
get the ‘click’ of the rotating dive bezel just right,
they secretly recorded other brands’ bezels for
reference. Then sent the recordings to our brilliant
Swiss engineers – and told them to do their best.
The result is a bezel with a click that beats all other
brands, bar one: Rolex. Next time, we’ll go one better.
christopherward.com
Editor’s Note Front of House
How travel broadens the
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operatic mind
EDITORIAL
Phone [phone] S
Email [email protected]
Editor-in-Chief Ashutosh Khandekar
ummer 2022: how life has moved on from this time last year. Opera is thriving
Associate Editor Helena Matheopoulos
Consultant Editor Keith Clarke again, with the festival season in full swing. ‘Covid hesitancy’ is still with us –
Contributing Editors Francis Muzzu, Tom Sutcliff e and not everyone can aff ord to take risks; but there seems to be new confi dence
Robert Thicknesse (UK), Francis Carlin (France),
James Imam (Italy), Karyl Charna Lynn (USA), about going out and experiencing the world at fi rst-hand. Audiences, deprived of
Andrew Mellor (Scandinavia), Ken Smith (Far East) live performance for almost two years, are fl ocking to theatres, and although the legacy
Design Louise Wood
of streaming and home entertainment endures, most of the opera lovers I speak to say
ADVERTISING how relieved they are to be back in opera houses, engaging in lively interval chitchat with
Phone [phone]
fellow members of the audience and enjoying real-life engagement with opera, that most
Title Manager Liam-Rhys Jones,
[email protected] visceral of art forms.
Advertising Production Daniela DiPadova, One question that I am repeatedly asked is whether travelling abroad
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to the opera is safe. Most European countries have now scrapped
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PUBLISHING a trip overseas for the opera. But as the pressure on travel
Phone [phone] eases – which it will – remember that a visit to the opera
Publishing Director Owen Mortimer
is a wonderful way of experiencing a culture beyond the
Marketing & Events Director Tony Hill
Head of Marketing John Barnett obvious tourist draws. Take Ostrava in the Czech Republic,
Group Institutional Sales Manager Jas Atwal
a beautiful and historic city in the northeast of the
Production Director Richard Hamshere
Circulation Director Sally Boettcher country where the National Moravian-Silesian Theatre
Managing Director Paul Geoghegan is mounting an ambitious series of operas written by
Chief Executive Offi cer Ben Allen
Chairman Mark Allen Czech composers who were transported to the Terezín
concentration camp before perishing at Auschwitz. The
Terezín Cycle is a stark reminder of how war and social
Part of upheaval causes the destruction of great artistic talent.
Hans Krása, Viktor Ullmann, and Pavel Haas were all
in their early 40s when they were murdered in Nazi
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OperaNow, ISSN 0958-501X, (USPS 9346) is published gas chambers in 1944. All three were forging important
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www.operanow.co.uk OperaNow July 2022 5
Front of House Feedback
READERS’ LETTERS
Spot the difference cords, and cultivated their The glory of Dame Clara a lucrative career with a happy
In the May 2022 issue of Opera chest voices. I was so delighted to read family life, and became a
Now, your correspondent Fiona As I argued in my article in Andrew Green’s tribute to celebrity on a scale that wasn’t
Hook makes the mistake of Early Music America Magazine Dame Clara Butt in Opera accorded to British singers
equating the historic castrato (EMAg, January 2021), the Now’s June 2022 issue, marking until The Beatles came along
alto with a contemporary closest approximation of the 150th anniversary of her in the 1960s. Like The Beatles,
countertenor alto (The Golden the castrato voice is not a birth in 1872 (‘A Voice Like No she was one of Britain’s best
Age of the Countertenor, page countertenor but a female Other’, page 25). These days, global ambassadors, uniting
22). Not all male altos are mezzo or contralto. people look back at Dame people from all over the world
the same. The castrato and Countertenor voices are Clara almost as a figure of fun through the emotive power of
countertenor voices depend indeed ‘other worldly’ and – purveyor of imperial anthems her singing.
on radically different means can be employed beautifully redolent of the pomposity and I was sad there was not more
of vocal production. The in roles written specifically nostalgia that characterised of a spotlight on Dame Clara
countertenor, alto or soprano, for them, such as Benjamin late-Victorian and Edwardian during the recent Platinum
uses only a portion of his vocal Britten’s Oberon and Philip Britain. It’s easy, however, Jubilee celebrations. It would
cords and stays primarily in his Glass’ Akhnaten, but they to forget Dame Clara Butt’s have been very appropriate,
head voice. should not be equated with the achievements as a female since she had many royal
The castrati, on the other powerhouses like Senesino who artist who achieved global associations was loved by
hand, developed strong vocal sang Handel’s Julius Caesar. success in the early years of the Royal Family of her day.
muscles, used all of their vocal Marilyn Farwell, via email the 20th century. She balanced Roberta Connolly, via email
Write to Opera Now, Mark Allen Group, Dulwich Rd, London SE24 0PB. Email [email protected] or tweet @Operanow
6 July 2022 OperaNow www.operanow.co.uk

Front of House News & Notes
PREVIEWS, NEWS AND EVENTS IN THE OPERA WORLD
NEWS & NOTES
Anne Howells as Queen
Erisbe in Glyndbourne’s
1967 production of
Remembering Anne Cavalli’s L’Ormindo
Howells – the down-
to-earth Diva
A
nne Howells, one of the to sing the role in his upcoming
most popular British recording of the work.
opera singers of her day, Howells got her big break
has died at the age of 81. at Glyndebourne when at just
She was a superb singer- two weeks’ notice she stepped
actress, giving vivid portrayals in from the chorus to sing the
of the characters she sang. leading role of Queen Erisbe in
Her flare for comedy was Cavalli’s L’Ormindo. She made
especially appreciated in roles a huge impression, delighting
such as Mozart’s Dorabella audiences and critics, and sang
abennodgua gCghihtn eagr uwcbhisiantrfomu,l a,t otnh dOo srchoteau vgaihlaslnoy in tohv‘eeI rrs otuhlpeep mnoesoexr teI ’ttmwh aomn y o3er0aer tsoi.mf ae s GUY GRAVETT/ARENAPAL
Der Rosenkavalier – which she theatrical than most opera
said was her favourite role. Her singers. I’m not a singer’s operas by Mozart, Rossini father complained of the noise
introduction to it came with a singer. I’m an actor’s singer,’ and Offenbach. She also took she decided she would become
touch of her characteristic grit she once said. Indeed, starring roles in new operas, a singer. Her training took
when her agent phoned to ask opera almost lost her to the including the world premieres place at the Royal Manchester
if she could step into a dress West End stage when she of Mark-Anthony Turnage’s College of Music.
rehearsal at Covent Garden was invited by Cameron The Silver Tassie, Richard Howells led a colourful life
because the mezzo singing Mackintosh to take over from Rodney Bennett’s Victory and off stage as well as on. Her
Octavian had fallen ill. ‘You Patricia Routledge in Rodgers Harrison Birtwistle’s Gawain. marriages to the tenor Ryland
don’t have to go on stage, just and Hammerstein’s musical Howells was born in Davies between 1966 and 1981
read it from the score in the Carousel. She regretfully Stockport, Lancashire in 1941 and the operatic bass Stafford
wings,’ her agent said. ‘Like hell refused, unable to accept and spent her early childhood Dean between 1981 and 1988
I will!’ she exclaimed as she because of existing operatic in South Africa where her ended in divorce. Her third
put down the phone. During engagements but said, ‘I would father worked as an engineer. husband Peter Fyson died
rehearsal, she made such an have loved to do it’. Back in England at Sale in 2005. One of her biggest
impression on conductor Sir Instead she excelled in Grammar School, aged 13, she fans was the writer, critic and
Georg Solti that he asked her mezzo soprano roles in took up the violin but after her television host Clive James.
She gave a barely disguised and
lurid account of their affair in
Met announces summer of opera in cinemas
an article in the Oldie in 2009,
Throughout the summer, the Merry Widow, starring sopranos classic staging of Puccini’s headlined ‘Clyde and the Diva’.
Metropolitan Opera, New York Renée Fleming and Kelli O’Hara La bohème, with a cast led by A down-to-earth Lancastrian,
will be presenting its Summer in director-choreographer Susan soprano Sonya Yoncheva and she was loved by her public for
Encores of performances from Stroman’s effervescent staging. tenor Michael Fabiano; and her characteristic Northern wit.
its acclaimed Live in HD series in The series also features Puccini’s Donizetti’s La Fille du Régiment At a reception at la Monnaie
cinemas and theatres around Madama Butterfly, with soprano featuring the vocal fireworks in Brussels, the wife of the
the US and internationally. Patricia Racette in the title role of soprano Natalie Dessay and Belgian prime minister admired
The 2022 Summer Encores in Anthony Minghella’s vivid tenor Juan Diego Flórez. her dress and asked if it was
series opens with Lehár’s The production; Franco Zeffirelli’s www.metopera.org Balenciaga. ‘No,’ she replied.
‘Pauline from Cockfosters’.
8 July 2022 OperaNow www.operanow.co.uk
News & Notes Front of House
Grimeborn celebrates 15
years at the operatic fringe
I
t may be a hotbed of the operatic fringe, but the Grimeborn
Opera Festival has become something of a summer
institution in London as it returns for its 15th year this July. NEXT ISSUE
The 2022 season features 14 operas, four new works and 11
female directors presenting a variety of traditional favourites AUGUST 2022
and new tales from across the globe.
The Festival opens on the 26 July with a special Gala Night
at the Arcola Theatre before the opening of L’incoronazione di
Poppea, a modern interpretation of Monteverdi’s opera from
Ensemble OrQuesta.
Following the acclaimed productions of Wagner’s Das
Rheingold at Arcola Theatre in 2019 and Die Walküre last
summer at London’s Hackney Empire, this year sees a double
bill of Siegfried and Götterdämmerung on 6 and 7 August 2022,
completing Grimeborn’s Ring Cycle.
Other highlights of the Festival include Baseless Fabric
Theatre’s Carmen, re-imagined for modern-day London. Gilbert
and Sullivan’s HMS Pinafore is by Emma Jude Harris, who
off ers a sharp critique on the piece’s underlying imperialism,
and Spectra Ensemble brings Ethel Smyth’s comic opera The
Boatswain’s Mate, which put female emancipation centre stage
when it was premièred in 1916.
Speaking of the 15th anniversary season, Arcola’s artistic
director Mehmet Ergen said, ‘Music has the power to connect
us, and it has always been our belief that opera should be
accessible to all. Our commitment to aff ordable ticket prices
means that everyone can enjoy opera.’
www.arcolatheatre.com
ON
SALE
25 JUL
GIUSEPPE VERDI IN THE
SPOTLIGHT
• Experiencing Verdi first-hand: his life, art and legacy in his
homeland
• Keeping the flame alive – visiting The Verdi Foundation
and news from the Festival Verdi in Parma
• Performing Verdi: the views of today’s leading interpreters
of Verdi opera
• The best of Verdi in recordings and on film
PLUS
Festival Reviews from the United Kingdom and Germany
A first glimpse of the 2022/2023 Opera Season
LIDIA CRISAFULLI www.operanow.co.uk
A scene from Grimeborn’s Das Rheingold. Wagner’s cycle continues this year
www.operanow.co.uk OperaNow July 2022 9
Special Report Opera in Latin America
Booming, busting and
bouncing back
By Karyl Charna Lynn
F
ew people think of Latin America be tough times but the comeback will be executive director tells me, ‘is operas from
as a hot bed of great operatic strong.’ Lombardero is also optimistic: Baroque to contemporary in productions
performances. It is a transplanted ‘Fortunately, there is a lot of talent in the from classical to cutting edge. We’ve also
art form, making the long journey from region, and I think that some opera houses presented Brazilian premieres of Lulu,
Europe and, en route, becoming perhaps have embarked on interesting paths. Dialogues of the Carmelites, and the Ring
more rooted in the traditions of the past, I believe that the way forward is with Cycle, and commissioned new works by
less free to experiment and evolve. Latin strong government support employing Brazilian composers.’
America has tended to regard opera as diverse and excellent local talent while
fao.teatroamazonas.com.br
a classical form that springs from the promoting new concepts. I believe that
traditional European canon. the future is in the creation of works
Theatro Municipal do Rio
More recently, however, that view like premieres of chamber operas that
de Janeiro,
has changed, with a new raft of young, challenge new audiences offering familiar
Brazil
innovative artistic directors taking the themes that are feasible for a post-
helm of the region’s theatres allowing pandemic production format.’
innovation as the world emerges from the ‘What my generation is trying to do is bring
Festival Amazonas de Operá,
pandemic. But it is an ongoing challenge, more attention to opera, engaging more
Manaus
as Argentine director Marcelo Lombardero audiences for an art form that is struggling
Brazil
informs me: ‘The situation in the opera to be relevant,’ the dynamic Brazilian
houses of the region is very convoluted. stage director André Heller-Lopes, artistic
Most opera houses are state-owned and One of the great recent Latin American director of Theatro Municipal do Rio de
run, therefore subject to the political and success stories is Festival Amazonas de Janeiro, explains. ‘Classic with a twist is my
economic turmoil of these times. The Operá.(FAO) It is unique, not only because directorial approach; good storytelling and
pandemic intensified problems that had Manaus is located deep in the Amazon directing are essential.’
already been manifest before Covid 19 rainforest, but because the FAO is a model Appointed in 2017 amid an economic
came on the scene. Most opera houses are of stability, innovation, and creativity. The crisis (no one was paid at the time),
located in historic city centres that have seeds were planted by a German violinist Heller-Lopes managed to stage some
gradually been depopulated in favour of who saw Herzog’s Fitzcarraldo (a film shows in his first year, though it was a
government and business offices. When about Teatro Amazonas’ construction by struggle. Taking a ‘sabbatical’ in 2018 when
Covid came along, our downtown districts rubber barons) and wanted opera brought the old management was implicated in a
became unsafe, isolated areas at night, back to the Belle Époque theatre. The financial scandal, he returned in January
furthering dissuading the public from Festival’s beginnings go back to 1997, when 2019, producing a notable five-opera
venturing to the theatres.’ everything was imported from Eastern season in the midst of great challenges.
The question is, as Mexican conductor Europe. Over time, the productions His taste in repertoire goes down the
and former general director of the Bellas became homegrown, and because of the road less travelled – in South America at
Artes in Mexico City, José Areán, tells vision and longevity of artistic director least – with Janáček, Strauss, Tchaikovsky,
me, ‘How will we come back, especially Luiz Fernando Malheiro, at the helm and Villa Lobos. He staged the region’s
financially? It is hard to know right now. since the FAO’s inception (working first Janáček cycle, with local premieres of
I worry that the Latin American opera under Brazil’s Secretary of Culture for Kát’a Kabanová and Makropulos Affair.
houses will struggle under financial crises a continuous quarter of a century), the Although the Theatro Municipal has
and budget restrictions. But I know too FAO had stability and time to develop reopened, he is planning to stage an
that they have all survived and even and thrive, becoming part of the cultural outdoor opera in December (the height
thrived in difficult times. People are eager identity of the Manaus. ‘What you’ll of summer in the southern hemisphere).
›
to be back at theatres. I’m sure there will experience,’ Flavia Furtado, the Festival’s Right before Covid, Heller-Lopes told
10 July 2022 OperaNow www.operanow.co.uk