OPERA BRAVO!!! For the Love of Three Operas (with a nod to Prokofiev*)

WORDS: Phil Hawkes PHOTOGRAPHY Supplied

I’m constantly puzzled by so many people I know who aren’t “into” opera. And yet, when I go to sold-out performances around Europe, and yes, here in Australia, I wonder who’s missing out on this most difficult but rewarding art form where music, libretto, acting and all the other ingredients like lighting and costuming come together. How on earth singers can learn foreign language libretti (for example, 4 hours of Wagner sung in German, with months of rehearsal) is a huge challenge…unless German is your native tongue. Same thing goes for works written in other languages, especially Italian opera which I think sounds weird sung in English or another language.

On a recent trip to Europe it was encouraging to see not only full houses but the number of young people in the audience. Many would be music students, but depending on which opera is playing, a sizeable number of younger couples.

The three operas I loved this year were:

Lohengrin (Wagner) in Zurich, Switzerland, at the beautiful 19^th century Opernhaus beside the lake. Perfect setting for arguably the best production of Lohengrin I’ve seen, and I’ve seen a few. It was the quality of all the principals’ outstanding voices, the stereophonic effect of the brass section from the balconies, the simple yet effective staging (holding my breath when they were leaping on and off tables, no easy manoeuvre), and on the whole, a true build-up of dramatic intent. And the lovely theatre. Small enough to bring intimacy to an opera often staged in a much bigger auditorium.

Turandot (Puccini) in Basel, Switzerland, in Theater-Basel. This is a relatively recent rebuild within the Theater complex and the operas take place in a small, modern theatre with the orchestra out of sight under the stage. The production was brave, different but the level of violence left me with mixed feelings…yet the onset of Turandot’s mental health from an early age was loud and clear in the opening scenes. The cast performed well vocally, acting not as strong as the vocals with the exception of Ping/Pang/Pong whose Chaplin-esque moves were excellent. I’ve always had a problem with Act 4 which I find melodramatic and unnecessary, whereas the opera (for me) finishes on the drama surrounding Liu’s death. The ending I find perverse and unlikely.

Don Giovanni (Mozart) in Berlin, at Komische Oper @ Schillertheater, another lovely 19^th century theatre suitable for opera acoustics. This production was certainly different, in line with the company’s pledge to be “one of the world’s most innovative” opera companies. Idiosyncratic director, Kirill Serebrennikov, took this to new extremes with everything from acrobatic dance moves to nudity, and some brilliant singing from a cast including Tommaso Barea as Leporello. But then, Serebrennikov has the cast segue straight into the Mozart Requiem, full version, which takes us well over 3  1/2  hours in total. I understand the thinking behind this, but is it really a valid conclusion to Giovanni’s descent into hell? A stretch too far, I think.

NOW FOR A BONUS: THREE OPERAS CLOSER TO HOME

Brisbane

La Bohème (Puccini), Conductor Umberto Clerici, Director Matt Reuben/James Ward

Opera Queensland is set to rival all those European productions this year with its own take on one of the best loved operas of all time, Puccini’s heart-rending La Bohème starring Elena Perroni as Mimi, Valerio Borgioni as Rodolfo and Nina Korbe as Musetta. With the QSO under the direction of Umberto Clerici, this will be worth your staying in Brisbane instead of heading to Europe!  At QPAC, 4 — 19 September. www.oq.com.au

Sydney

Rusalka (Dvořák), Conductor Johannes Fritzsch, Director Sarah Giles

This new Opera Conference production of Dvořák’s melodic Rusalka will make its Sydney première. Lush orchestration and the famous ‘Song to the Moon’ play out in a mesmerising, dangerous world with an evocative set and ethereal costumes. International star soprano Nicole Car returns to Sydney as the titular water nymph, Natalie Aroyan makes her role debut as The Duchess and Gerard Schneider makes his OA debut as the Prince, with Warwick Fyfe as the Water King and Ashlynn Tymms as Ježibaba. Sydney Opera House, 19 July – 11 August. www.opera.org.au

 The Marriage of Figaro (Mozart), Conductor Teresa Riveiro Böhm, Director Sir David McVicar

Sir David McVicar’s celebrated production of Mozart’s age The Marriage of Figaro presents this classic domestic comedic spectacle. Brilliant trios, quartets and a sextet set to hummable melodies and a witty libretto will be performed among luxurious 17th century designs and radiant lighting. Australian soprano Siobhan Stagg, Canadian Gordon Bintner and American Michael Sumuel will all make their OA debuts, while Kiandra Howarth makes a welcome return to share the role of the Countess with Jane Ede. Sydney Opera House, 31 July – 27 August. www.opera.org.au

*Prokofiev’s “Love for 3 Oranges” inspired this heading

Somewhere Cosy to Stay if you’re Opera-ting in Sydney?

Adina Town Hall Apartment Hotel

Just a 10-minute tram ride to Circular Quay and the Sydney Opera House, Adina Town Hall is an apartment hotel giving you that extra space to relax in with a living room, kitchenette and washer/dryer (in the 1 and 2 bed apartments) that makes your stay feel just like home. I’ve been a guest in several Adinas in Europe and Australia, and it’s the space and comfort that really helps you unwind before and after a night out.  Adina Town Hall is a great choice for its central location and proximity to the QVB, Darling Harbour and of course the famous Clock Tower of Sydney Town Hall which has been a major landmark for 130 years. It’s the best value in town, which should be music to your ears! www.adinahotels.com