Puccini's Café Momus at the Frontline Club

...where the food is possibly better. One of the delights of hosting my Opera in Depth course at the marvellous Frontline is that we can choose our menu from the downstairs restaurant, open to the public, and consume it in the comfort of the club room, with maître d' Tomas, for whom nothing is too much trouble, to tend to our every need. Pictured above: Simona Mihai's Musetta presents her knickers to Mariusz Kwiecień's Marcello at Covent Garden, image by Catherine Ashmore.

Anyway, it's finally time for the new 'academic year', starting later than usual this time - on Monday afternoon, the 9th, to be precise, the first term then running straight through to before Christmas. Richard Jones's Royal Opera production of Puccini's La bohème has been in full spate for some time now, but I chose to spend five weeks on it (again!) because he's vouchsafed to come and talk to us (also again, after fascinating chats on Die Meistersinger, Gloriana, Der Rosenkavalier and Boris Godunov). I hope he still will since in my Arts Desk review, I had to be honest and say that, in the first-cast realisation at least, this didn't strike me as one of his more unusual shows. I know he believes, as any director with any sense should, that Puccini and his librettist leave the minutes details for the scenario and you shouldn't mess with that. But there were some less than fully realised characterisations in the first run, and the Momus act was - again, very surprisingly - a bit of a mess. Troubles with lack of lighting rehearsals, I understand, didn't help.

My second choice in the Autumn term, Musorgsky's Khovanshchina, was made on the strength of realising for the first time what a total masterpiece Shostakovich's performing version is, thanks to Semyon Bychkov's magnificent Proms performance, with a superb cast - possibly my favourite Prom of the year, though it's been very hard to choose (Bychkov pictured above at that Prom by the peerless Chris Christodoulou - don't miss his annual gallery of conductors in action on The Arts Desk). Students can see the WNO production if they're prepared to travel.

Spring operas: the first of four January Ring instalments to tie in with Jurowski's Wagner cycle at the Royal Festival Hall. Das Rheingold will take us into February, and then - finally! - I get to cover Janáček's From the House of the Dead since it's being staged at the Royal Opera for the first time (WNO also has a production coming soon). Best news of all is that Mark Wigglesworth is to conduct in place of the capricious Teodor Currentzis, so we can (I hope) welcome Mark back quicker than we expected.

Summer will see plenty of moonshine in Britten's A Midsummer Night's Dream and Strauss's Salome, for which I have renewed appetite having been very impressed by the theatrical room devoted to it, and Dresden in 1905, in the Victoria & Albert Museum's stunning exhibition Opera: Passion, Power and Politics. There's the room below, picture courtesy of the V&A, but read my review on The Arts Desk today to find out why everything works.

It's been a long time away from lecturing, but to warm up I got to talk to members of the Art Fund at the Royal Over-Seas League last night. This was in connection with the V&A show, but by the time I had to give a clear theme, the details of the exhibition weren't clear. So I thought a general look at how opera swung from strict dramatic principles to display, and back and forth until the end of the 19th century, would allow me to sneak in something of Strauss's Capriccio before homing in on the difference between two Otellos: Rossini's in 1816, and Verdi's in 1887: from bel canto to pure music-theatre. The two scene settings, Willow Songs with Prayers and very different treatments of the fatal last encounter between Otello and Desdemona followed by Otello's suicide would permit some interesting comparisons - not always to Rossini's detriment, though Verdi's penultimate opera is, as we rediscovered with awe during our five weeks on it for Opera in Depth, the perfect masterpiece.

 
This Opera Rara set is a good resource - negatively for wicked entertainment, showing how not to depend on a tenor who may have the very high notes needed for the daft role of Rodrigo but no musicality whatsoever, positively for Bruce Ford and Elizabeth Futral, and for including an appendix which even gives us the later lieto fine or happy ending drawn from a duet and an ensemble in other Rossini operas.

Needless to say there wasn't nearly enough time to play all the examples I'd intended, but it was crucial to end with the very fine filming of Elijah Moshinsky's Royal Opera Otello with Domingo and Kiri. Not possible to go and see Kaufmann when we were focusing on Domingo on the opera course earlier this summer - and it's very hard for anyone to come anywhere near to Domingo, who simply owned the part.

As I think audiences on both occasions very much agreed. This is the only Otello you'll ever want on DVD, though the choice is wide indeed when it comes to CD (Toscanini, Levine, Karajan with Vickers and Freni, live Carlos Kleiber for starters).

If you're still interested in attending the Opera in Depth course either this term or later, do drop me a note by way of a comment here - I won't publish it, and if you leave me your e-mail, I'll respond.

The primrose path

In Sondheim’s Merrily We Roll Along it leads backwards in time from the hell of compromise and failure to the sunlit plains of youthful optimism. In Meyerbeer’s Robert le Diable it meanders ineffectually until finally fizzling out in the face of an equally pallid angelic challenge. Having seen the two works on consecutive nights – the opera first at Covent Garden, the musical next at the Menier Chocolate Factory - I know which path I’d rather take. But let’s put duty before pleasure and have done with the French devil first.

Is Robert really a grand opera? Its length and scenario would suggest so; the music, apart from the passing low brass threat, would better be suited in selective dollops to semi-disposable opéra comique. That Meyerbeer could write a good tune we know from Constant Lambert’s arrangements in Les Patineurs, drawn from Le Prophète – yes, it really did have a roller-skate ballet – and L’Etoile du Nord. There’s arguably one catchy number here, the Sicilian song in the first act. Otherwise you wait and wait for the promised improvements in later acts. Like so many second- or third-rank operas, this one always seems about to deliver and always stops short at foreplay.

 Instrumental colour can be interesting – good girl Alice’s arrival in a dangerous place is marked by a sweet woodwind chorus – and one ungainly novelty stands out, the a cappella trio in which the tenor and soprano shoot up to insane heights while the bass hits rock-bottom (its concluding counterpart makes the most of its half-tune, blueprint perhaps for the better effort towards the end of Gounod's Faust). If Princess Isabelle’s plea to Robert to forsake his wicked ways is another hit, the second replacement coloratura, Sofia Fomina, failed to make it so despite the support of harp and cor anglais.

In fact of the four principals only Bryan Hymel, a surprisingly beefy tenor capable of hitting the top notes, seemed in technically good shape. Usually reliable bass John Relyea (pictured above with Hymel) struck gravel in his upper register and the picture-pretty Marina Poplavskaya did her usual of swooping in and out of focus and tuning (so frustrating – there’s certainly something there if only a good teacher could bring it out). Conductor Daniel Oren didn’t seem to be helping anyone much. Laurent Pelly’s production restricted itself to naff rhythmic steps for the chorus and didn’t bother much with trying to mine any psychological truth from the principals (probably there’s no point). 

Some of the 19^th century style picturebook designs were fun, but only the ballet of zombie nuns in the graveyard where Robert has come to claim a magic branch, strikingly choreographed by Lionel Hoche, managed to triumph over anodyne music. Worth staging? I think not. A concert performance would have been enough to show us the bits that influenced Wagner* – and Sullivan, so much creepier in Ruddigore. If the Royal Opera wants to do a French grand opera, albeit one of less historical significance, it could try Massenet’s Le Cid. But no more Meyerbeer, please.

On, vitement, to Merrily We Roll Along. I hadn’t really wanted to bother with it again, having taken away so little from the Donmar production 12 years ago with Daniel Evans and the gorgeous Julian Ovenden. But then I learned from colleague Matt Wolf's enthusiastic review that the leading trio this time round included Damian Humbley, so dazzlingly good in the ill-fated and unfairly maligned Lend Me a Tenor, and lovely lady Jenna Russell, outstanding star of the Regent’s Park Into the Woods. Josefina Gabrielle, who eclipsed Tamsin Outhwaite in the Menier’s Sweet Charity, was also playing a chunky role. So I decided to give it another try.

Even before the night, assisted by the 1992 Leicester Haymarket cast recording with Maria Friedman – the present production’s clearly able director – I was hooked. The show is based on a Kaufman and Hart play and follows the blueprint of a (usually resistable) self-referencing showbusiness rise and fall, but told in reverse. As Sondheim points out in the excellent Finishing the Hat, Merrily not only traffics in the regular 32-bar songs of the musical golden age but, thanks to the time-travelling premise, previews them in fragmentation or dissolution before piecing them together in their pristine state. Thematic transformation is almost as skilful and pervasive as in Into the Woods, a work of incredible musical sophistication. The winning song penned by the musical’s composer and lyricist, ‘Good Thing Going’, is cheesy but earwormy, and there’s an infallible blend of post-G&S patter with pathos.

The Menier cast was, as anticipated, flawless. Russell (pictured above with Mark Umbers) doesn’t really get the limelight she deserves as Mary, but manages the backward transition from overweight, outspoken drunk to hopeful author beautifully. Humbley brings the house down with impeccable timing in Charlie Kringas’s self-destructive rant against his sellout buddy Franklin Shepard ‘Inc’ during a 1973 TV interview. Handsome Umbers achieves the difficult task of winning our sympathy as we regress to understanding a little more about Frank’s compromises.

The biggest transformation is realized by Clare Foster as his first wife Beth, maintaining a stillness in heartbreaking anguish in the first, divorce-scene rendition of ‘Not a Day Goes By’ – no easy task considering we’ve only just met her – before lighting up the stage with her younger enthusiasm (Foster's in the top picture with Russell, Umbers and Humbley). Gabrielle (pictured below with Glyn Kerslake), like Russell, doesn't quite get to strut all her stuff. She's a terrific dancer and the show number adapted with Sondheim's permission could give more room to that. As her first husband, Joe Josephson, Kerslake comes magnificently if briefly into the limelight in the middle of the fabulous young-professionals number 'Opening Doors'. 

The scene-changes are evocative bearing in mind the Menier’s limited space, the band excellent, but I have the one usual cavil in this place: why mike in a small theatre? You can’t tell where the voices are coming from in ensemble scenes, and you lose their natural timbre. Anyway, on with the West End transfer, and here’s to Broadway for Friedman and Co.

It's been an equally mixed week for Arts Desk assignments. I'll be damned if the Zurich Opera's concert performance of Wagner's Die Fliegende Holländer wasn't the best event of 2012 thanks to the Senta (all-giving Anja Kampe) and Daland (relaxed veteran Matti Salminen) rising to the superhuman level of Bryn's Dutchman.

But then there was a 26th-revival Copley Bohème at Covent Garden cruelly exposing the current problems of Rolando Villazón, and no-one else really making it worthwhile (though Elder's orchestra, despite being too loud and slow at times, revelled in the detailed beauties of Puccini's fabulous score). As for the old Copley production, at least Act Three looks good - below, Villazón with Maija Kovalevska's bright but unItalianate Mimì.

*though I reckon the Abbate/Parker claim that Senta's Ballad would not have been possible without the example in Robert's Act One must be wrong; the one in Marschner's Der Vampyr, which when I saw that opera in Munich struck me as close to the world of Dutchman, predates Meyerbeer's example by three years.

Production photos of Merrily We Roll Along by Tristram Kenton for the Menier Chocolate Factory

Production photos of Robert le Diable and La Bohème by Bill Coooper for the Royal Opera

Photo of the Zurich Dutchman by T+T Fotografie