Opera Japonica/Archives/Letters from Paris 2001

Frank Cadenhead's Letters from Paris 2001

January

Gerald Finley as Don Giovanni at the Bastille

Photo: Opéra de Paris

With the strikes at the Opéra de Paris finally resolved in late December, all the stages of the lyric theaters in Paris were in full operation and the variety and depth of the offerings were impressive. The first week of January saw Die Zauberflöte finishing its run at the Palais Garnier with all the color and stage effects on display. This production, by 78 year old stage legend Benno Besson, was filled with handsome stage images and imaginative direction. It was a delight for the eyes, and, on the evenings when Natalie Dessay was singing the Queen of the Night, a treat for the ears too.

At the Bastille, the Opéra de Paris featured two productions, one notable for staging, the other for its voices. Die Fledermaus was given a spectacular new production designed by famed actress and film director, Coline Serreau (Three Men and a Cradle, Romauld and Juliette). With an attractive young group of singers who can act, and trapeze acts and break dancing, grand sets and elaborate costumes, it was an impressive night of theater; but the director gave the libretto a different, and darker, interpretative thrust.

Most treat this work as a meaningless song to the pleasures of champagne. Serreau's research found that the Strauss clan was converted from the Jewish religion earlier and that Johann Strauss gave his support and prestige to groups that fought the anti-Semitism that was always a feature of the Viennese landscape. Viewed in this perspective, the story can be seen, as the critic from Le Monde wrote, as a story of 'vengeance, mystification, and humiliation'. Remember the story: Dr. Falke was abandoned by Eisenstein in a park after a party and awoke on a bench at dawn, disoriented and wearing a bat costume. It was Falke, of course, who arranged the party at which Eisenstein makes passes at both his wife and his parlor maid, both in disguise.

The most discussed 'coup de théâtre' was the dancing of the party guests in Act II. After chasing the break-dancers and acrobats from the stage, they were dancing to the choral piece 'Brüderlein' and formed a large X with ribbons held aloft. Towards the end of the piece, the ends tweaked into a giant swastika. The cast featured William Joyner as Eisenstein and Mariana Domaschenko, who gave a pallid performance as Prince Orlofsky, with Adina Nitescu as Rosalinde and a perky Marlis Petersen as Adele. It was not a good evening for the voice, but with all the activity on stage, it was not greatly noticed by the audience.

William Joyner as Eisenstein and Adina Nitescu as Rosalinde in Die Fledermaus at the Bastille (Opéra de Paris)

Photo: Opéra de Paris

Opening night of Bastille's Don Giovanni was in sharp contrast to Die Fledermaus. The revival of the 1999 production, designed by Dominique Pitoiset, was not meant to be glamorous and the single, stark set looked more like a construction site, brightened only by the occasional candle. The singing here was of a different order, with some excellent young singers and two well-known veterans of the opera stage.

Gerald Finley, a virile and mellifluously voiced Don, gave a performance of nuance, alternating between seductive charm and swarmy sensuality. A fine singing actor, it would be hard to imagine a more thrilling portrayal of this engaging dissoluto. Gordon Gietz made a good impression as Don Ottavio, with his big, warm and secure vocal technique. The young bass, Philip Ens, as the commendatore, has a powerful instrument - enough to terrorize the most jaded libertine. The Donna Anna, Luba Orgonasova, who I first heard last year in Britten's War Requiem, made her Paris Opera debut and sang with a wealth of beauty and control. Veteran Carol Vaness delivered an impassioned and strong performance as Donna Elvira.

The list of credits for José Van Dam, here singing Leporello, takes up four columns in the program and has been heavily abridged. When you hear this legendary singing actor do the famous Catalog Aria, you know that you are witnessing something that will never be equaled and will be a happy memory for life. Now 61 and performing only infrequently, his voice is still in excellent shape and he remains one of the great operatic baritones. Van Dam and Finley worked together with such care and obvious pleasure, that the complex relationship between these two was never so well expressed. Ivor Bolton, an early music specialist, was at the helm of the orchestra, and kept things clear and full of well-regulated passion. In short, it was an evening of wonderful music making.

At the Théâtre des Champs-Elysées early operas were on prominent display. From the 12 to the 20 of January, there were two performances each of a trio of Monteverdi operas, L'Orfeo, Il ritorno d'Ulisse in Patria and L'Incoronazione di Poppea. With the early music specialist Jean-Claude Malgoire and his band in the pit, it was a production designed by the baritone Nicholas Rivenq, who also sang the title roles of Orfeo and Ulisse! At age 18, Rivenq was one of many young French singers whose life was changed by an encounter with William Christie and his group, Les Arts Florissants. Now in their 21st year of promoting early music in France and discovering important new treasures, the widely traveled group has shared their love of early music with the world.

In the same theater, on 23 January, Christie was back with two old favorites; Marc-Antoine Charpentier's Actéon and the Dido and Aeneas of Purcell, both of which he has recorded, the Dido twice. Since this was a benefit concert, with the proceeds going to an AIDS charity, the famed fashion designer, Christian Lacroix, outfitted the entire troupe of singers and everyone, especially the quartet of women, looked absolutely fabulous. Special mention goes to Stephanie d'Oustrac who sang both the roles of Junon and Dido with touching tenderness. In the Dido, the Belinda, Sophie Daneman, showed a fine vocal touch and the Aeneas was well sung by that over-achieving baritone, Nicholas Rivenq. Another fine participant was the counter-tenor, Michael Puissant, another one of the current crop of counter-tenors who have clear, strong voices and can act.

His campy portrayal added much humor to the Purcell opus. This was a semi-staged performance and the high instruments were at stage left and the low instruments, the basso-continuo and Mr. Christie at the harpsichord, were at stage right. This left space center-stage and Vincent Boussard, the 'mise en espace,' provided restrained stage action that accented the music effectively.

Important performances of Haydn operas are scarce. At the Théâtre du Châtelet, on 25 and 27 January, the superstar mezzo Cecilia Bartoli sang the dual roles of Euridice and the Sibyl in Orfeo ed Euridice ossia L'Anima del filosofo (the spirit of philosophy), to great acclaim. She sang the famous third act aria 'Al tuo seno fortunato' with such vocal fireworks, it was some of the best and most dramatic singing in my memory. Christopher Hogwood and the Academy of Ancient Music played this fine music with uncommon commitment and verve. This was performed here in Paris, in Amsterdam and in Birmingham in concert version. It apparently will be staged by the Royal Opera in the Fall. Opinion is divided as to whether it works as opera, but such fine music and great choral moments should not be hidden from view. Bartoli and Hogwood have recorded this work recently on Decca.

The gala reopening of the newly refurbished Salle Gaveau was another operatic mega-event. After being closed for seven months and undergoing a refurbishment costing 23 million Francs, it was opened with great ceremony, on January 8, with French superstar tenor Roberto Alagna singing opera arias with the Concerts Lamoureux orchestra, conducted by Anton Guadagno. This small hall, seating just over 1000, was built in 1907 and over the years has had sound absorbing carpet and other things added that affected the acoustics, reputed to be the best in Paris. All these were cleared away, new air conditioning added, and the opening night audience could clearly smell the fresh paint. Critical opinion is that the renewal was a success, both acoustically and esthetically. Alagna sang a mix of arias, some rarities like 'Rachael quand du Seigneur' from La Juive and an aria from Leoncavallo's La Bohème along with more common ones like the Flower Song from Carmen. It was this aria that caused the critic from Le Figaro to lament that such fine French pronunciation has not be heard since Georges Thill.

Last but certainly not least, on the last day of January, at Châtelet again, the soprano Barbara Bonney gave a wide-ranging display of her vocal artistry. The first half included Schumann's 'Dichterliebe' which is rarely heard sung by a female voice. She found much that was fresh in this masterpiece. Nordic music was featured after the intermission, with songs of Sibelius, Stenhammar, Greig, Alfvén and Sjöberg.

A costume for the forthcoming La scala di seta at the Opéra-Comique by Massimo Poli

February promises an equally adventurous exploration of rare opera performance. At the Opéra-Comique there are a series of short operas written by Rossini between the ages of 19 and 21 for the small opera theater of San Moisé in Venice, ending with La scala di seta on 10 February. At the Opéra de Paris, there is a revival of last year's production of Pique Dame and a new production of Parsifal with Domingo and Hampson. At Châtelet, there is a co-production with the Vienna and Dresden State Operas of the Strauss comic opera, Die schweigsame Frau, conducted by Christoph von Dohnanyi and featuring Natalie Dessay and Dietrich Henschel.

February

Pique Dame, with Karita Mattila as Lisa and with Sergei Larin as Hermann, at the Bastille

Photo: Opéra de Paris

France was fortunate to have an incredible abundance of great opera singing in February. Two of the great legends of opera appeared in title roles here: Plácido Domingo in Parsifal at the Opéra de Paris and Dame Kiri Te Kanawa as Samuel Barber's Vanessa at the Opéra de Monte Carlo. These two, reaching the end of stellar careers and still in excellent voice, are these days not often found on the world's opera stages and any opportunity to hear them is a rare privilege.

Kiri Te Kanawa's vivid acting and strong musical presence made this revival of the 1958 Barber opera a significant artistic event. The opera itself, with a dark libretto by Gian Carlo Menotti from a story by Isak Dinesen, contains a great deal of fine, neo-Romantic music and has been Barber's most enduring work for the stage. As Vanessa's niece, Erika, the mezzo Lucy Schaufer was effective and David Maxwell Anderson was in fine voice as the handsome tenor whose arrival upsets the calm of the house. The old Baroness, played by Rosalind Elias, was the historical link to the original premiere; she sang the role of Erika in the original production (in a cast that featured Regina Resnik and Nicolai Gedda). Paul Brown's luxuriously conventional sets and Lawrence Foster's fine conducting of the Orchestre Philharmonique de Monte Carlo only added to the wealth of beauty in this production.

Plácido Domingo in the title role of Parsifal at the Bastille

Photo: Opéra de Paris

Certainly the most significant opera event in Paris this month was the very fine Parsifal at the Bastille. Starring the grand tenor, Plácido Domingo in the title role, with Thomas Hampson in his first ever Amfortas, and with a strong supporting cast, it was the high point of the Opéra de Paris season so far. This was a revival of a 1997 production with sets and costumes also by Paul Brown, and with the staging by Graham Vick. Here Brown gave us a minimal design but, with major voices in all the roles, the singing carried the day. Domingo sang with fervor, displayed committed acting, and shows no sign of slowing down at this stage in his career. His energy gave a needed drive to this opera, which can sometimes go slack with the slow and stately dramatic movement. Also effective dramatically was the famed American baritone, Thomas Hampson, whose portrayal of the tortured Amfortas was powerfully sung and impressively acted. His rich, well-sculpted voice and impeccable German diction suggests that this type of repertory might occupy more and more of his future time.

Another important role, Kundry, was sung with almost demonic intensity by Swiss mezzo-soprano Julia Juon. She made a major impact as the Countess Geschwitz in last season's Lulu at Bastille, and her strong, steely voice, lithe body and fine acting sense made her an ideal Kundry. While not the most seductive Kundry around, the ability of her voice to easily rise above the thickest orchestration puts her in the first rank of Wagnerian mezzos. Also worthy of special mention was the forceful and emphatic performance of Paul Richard Fink as Klingsor. The bass Jan-Hendrik Rootering was a sturdy Gurnemanz. Under the Opéra's Musical Director, James Conlon, the orchestra and chorus performed with power and accuracy and the brass earned particular notice.

Tchaikovsky's opera Pique Dame was revived from last season with Karita Mattila again as Lisa and with Sergei Larin as the possessed Hermann. Here again, great voices triumphed over indifferent or wrongheaded scenic design. Mattila, fresh from a triumphant Leonore in Fidelio at the Metropolitan Opera, had even greater emotional range and vocal bloom than last year. Acting with her usual skill and commitment, her performance more than amply justifies her ranking among the top sopranos on the opera stage today. Tenor Sergei Larin, singing the ill-fated Hermann, showed off a fine, natural lyric tenor that can fill the house without apparent effort. His voice is different that the high-octane delivery of last season's Vladimir Galouzine, who is more of a dramatic tenor. It was pure of tone and more sensitive to the words and delivery, reminding me of Nicolai Gedda's fine roles in the Russian repertory.

I am happy to report on the much-improved condition of Marina Domaschenko. She was last seen earlier this season in Die Fledermaus as Orlofsky attached to an IV drip and bald from chemotherapy and singing like she should have been in intensive care. As Pauline, she's fully recovered now, with a full head of hair and a strong, round mezzo voice. Her first act duet with Mattila was an unalloyed pleasure.

Some of the other cast members were the same as last year. I did miss, however, the noble, haunting work of Helga Dernesch as the old Countess last season. Specially noted would be the fine work of Dalibor Jenis as Prince Eletski, with much richer tones than last year's Kennlyside. The Count Tomski was the fine baritone, Nikolai Putilin, with Leonid Bornstein as Tchekalinski and Maxime Mikhailov in the role of Sourine. Conductor Vladimir Jurovski saw to it that Tchaikovsky's music with played with the appropriate romantic vigor.

A word about the 1999 production, designed by Lev Dodin. In this designer's concept, we are asked to place the entire action in a room in a mental hospital where Hermann is committed. The story is told as a long flashback, inspired more by Pushkin's short story in which Hermann goes mad, than by Tchaikovsky's version in which the protagonist commits suicide. This 'works' as a concept, but begs the question of what the composer had in mind. While preparing for this opera, I read of Tchaikovsky's trip in Florence where he worked almost constantly on this opera and there was a steady flow of letters back and forth between him and his brother, Modest, who was writing the libretto. He worked hard to get the drama right, to add a love story to the Soshin work, and to move the work back to the 18th Century so that he could insert some of that charming Mozartian music that he so loved. It is indeed surprising that anyone could think of major surgery on this operatic masterpiece and, disregarding the carefully composed and nuanced scenes, confine the entire work to the straightjacket of a hospital room. The first act boys choir can't march around and play soldier (as in the libretto). They are stripped of their action and deliver their song as a ghostly chorus against the institutional wall. Lisa doesn't jump into the canal because there is, of course, no canal in a hospital. The highly charged card-playing scene in the last act is played on the only flat surface on stage, the patient's bed. Certainly it is extraordinary hubris for any stage director to 'rearrange' a masterwork like this to fit his new concept. It is a regrettable but not uncommon experience in opera in recent years.

Die schweigsame Frau at the Théâtre du Châtelet: Natalie Dessay as Aminta and Sten Byriel as Sir Morosus

Photo: MN Robert

A far happier place is found on stage at the Théâtre du Châtelet on February 24. It was opening night of a production of Richard Strauss's comic opera Die schweigsame Frau. This time the director, Marco Arturo Marelli, had no difficulty finding comic inspiration in the music and the words of the fine libretto by no less than Stefan Zweig, in his first, and only, collaboration with the composer. This opera, completed in 1935, and at its premiere conducted by a young Karl Böhm, was well received but given only three performances before being withdrawn. Zwieg, being Jewish, brought the authorities down on Strauss and the opera was not performed again until after the war. Zweig managed to avoid arrest and, finally, a refugee in Brazil, committed suicide in 1942 - one more of the incalculable losses of that awful period.

Strauss imagined he could not continue writing operas after his long-time collaborator, Hugo von Hoffmannsthal, died in 1929. But, after seeing Zweig's treatment of Ben Johnson's play, Epicoene or The Silent Woman he was immediately enthusiastic and began an exchange of letters. The result is a witty and charming opera filled with bustling, bubbly and engaging music. Here the center of attention and the engine for the drama is a Barber, like in the Beaumarchais plays. As played by the talented baritone, Dietrich Henschel, he works for a rich ship's captain, Sir Morosus, who, injured in service, cannot abide noise and is encouraged by the Barber to find a silent wife.

It is Henschel's acting that is the key to the success of this production. His excellent baritone, demonstrated in last season's masterful Doktor Faust, and several other important works, is combined here with a splendid comic theatricality. His lanky frame and intelligent vocal talent resembles remarkably the great Norman Treigel, and his campy, hyperactive Barber was a joy to watch. The renowned French soprano, Natalie Dessay, was perfect for the mostly coloratura role of shy Aminta who turns into a shrew when married. She is a comic actor with a very agile and lovely soprano voice in a challenging role. Juan Jose Lopera plays Henry, the son of Sir Morosus, his light; pleasant tenor was often lost among the orchestra's tumult. Bass-Baritone Sten Byriel was a sturdy Sir Morosus. The other young, talented and energetic cast members are all to be commended for their comic timing. They seemed to be enjoying themselves as much as the audience. Conductor Christoph von Dohnányi had the luxury of his own orchestra, the Philharmonia Orchestra of London, in the pit and the music making was of the highest caliber.

March will be an interesting month with a world premiere at Opéra Bastille of an opera, based on Kafka, by Philippe Manoury and also a tardy celebration of Verdi with a Don Carlo featuring René Pape, Sergei Larin, Carlos Alvarez and Olga Borodina. Late in March, at Châtelet, there will be a concert version of Otello with Karita Mattila and José Cura in the major roles.

March

K. . . at the Bastille

Photo: Eric Mahoudeau

France made a tardy arrival on the world's opera stage with its commemoration of the centenary of the death of Giuseppe Verdi. While most other European venues were mounting major productions one or two months ago, it was only this month the French started their tribute to the master of Busseto with some well-cast performances in Paris and Monte Carlo. There were also a few old favorites in theaters around Paris and some bold experiments for the lyric stage.

Certainly the most eagerly anticipated Verdi opera was the casting of two of the brightest young stars of opera, José Cura and Karita Mattila, in a semi-staged production of Otello at the Théàtre du Châtelet. It might likely be historic as well as it could have been the last time soprano Mattila sings this role. She has said in recent interviews that she doesn't like the role and will likely never repeat it. This is hard to understand from the perspective of the audience because her Desdemona is an significant artistic triumph, with a beauty of voice and insight that will certainly make it an historic interpretation. She is at the top of her form and showed simultaneous sensuality and tragic vulnerability in this role. Her 'Willow Song' was a moment of gold.

Argentine tenor José Cura shows a robust tenor and good acting style but, paired with Mattila, gives indication that he has some way to go before he can be said to be an important Otello. Missing are the conflicting passions that are inherent in this role; he just grew more and more bellicose. In the famous love duet, his rather routine 'E tu m'amavi' was answered by Mattila with sensitive shaping of the phrase which brings alive the exquisite beauty. His opportunity to show his interpretive skill, in the aria 'Dio, me potevi scagliar,' was almost completely covered by the Orchestre Philharmonique de Radio France and conductor Myung-Whun Chung. The maestro, free from the confines of the pit, had a large orchestra, and conducted with more zeal than refinement. Anthony Michaels-Moore, while lacking the heft of a truly great Iago, has mastered the role and was convincingly evil throughout. He will play the role of Ford in the John Elliot Gardiner Falstaff in the same theater next month. A special mention also should go to the handsome young Cassio, Cesare Catani, who sang ardently.

René Pape, Marina Mescheriakova and Carlos Alvarez as Philip II, Elisabetta and Rodrigo

Photo: Eric Mahoudeau

The Opéra Bastille managed a very impressive cast for the wonderfully sung Don Carlo. Opening March 16 and running through early April, it was a dusted-off production from 1998 by Graham Vick in the four act Italian version. Châtelet had a wonderful production of the French version in 1996 which is available on DVD (with Alagna, Hampson, Mattila, Meier, and van Dam) and which also includes the beautiful Fontainebleau scene - music I always miss in the four act version. Tenor Sergei Larin was impressive and often passionate in the title role and Marina Mescheriakova showed the ability to float fine piano phrases but had trouble fully connecting with the role of Elisabetta.

Olga Borodina was a marvel as Eboli. She took a little 'luftpause' before the coloratura run in her First Act aria, as if to say 'Listen to this, all you would-be divas, and despair!' It was a tour-de-force performance and the kind of vulgar flaunting of talent that we all love and is now so often missing from the opera stage. Carlos Alvarez, in the role of Rodrigo, was superb and is surely now classed among the great Verdi baritones. The grand bass, René Pape, fresh from his success playing another king in the Metropolitan's Tristan und Isolde, was in perfect form for his Philip II. One cannot imagine a better vocal performance.

The staging of Graham Vick was almost Zen-like in its restraint, with grays and browns framing the action and respectful distances maintained between lovers and friends - there was even a wall between the king and the Inquisitor. The exception was the splendid array of costumes, by Tobias Hoheisel, and colorful stage pictures during the 'auto-da-fe' scene. Otherwise, the stage action mostly ran contrary to the natural dramatic flow of this masterpiece. Music Director James Conlon conducted the Opéra orchestra and chorus with force and precision.

A third tribute to Verdi was an Il Trovatore at the Salle Garnier in Monte Carlo which featured Roberto Alagna in the title role. The Leonore, Dimitra Theodossiou, made a good impression and Leo Nucci was sturdy as the Count di Luna. An indifferent production and staging was overcome by the fine conducting of Pinchas Steinberg who was the energy for the entire production.

Left to right, Alfonso Antoniozzi (Bartolo) Charles Workman (Il Conte d'Almaviva) Laura Polverelli (Rosina) Pietro Spagnoli (Figaro) and Giovanni Furlanetto (Don Basilio) in Il Barbiere at the Théàtre des Champs-Elysées

Photo: Alvaro Yanez

At the Théàtre des Champs-Elysées, there was a young, mostly Italian, cast for six cheerful performances of Il Barbiere di Siviglia, a co-production with theaters in Ferrara and Parma. It was my first chance at seeing the rising young American tenor, Charles Workman, who received critical praise recently in roles at Opéra Bastille. There was strain and tightness in an otherwise big and agreeable instrument, testimony to the near-cancellation of earlier performances due to a cold. He was otherwise fully involved in the busy stage action. At one point he jumps on a table with wheels, which moved, and he lost neither his balance nor his musical line. Also well acted and well sung was the Figaro of Pietro Spagnoli, whose sense of theater and comic timing added to the impact of his rich baritone voice. Laura Polverelli, who has a large, well-focused but dark mezzo voice, seemed miscast as Rosina. The stage direction had her either rude or petulant and it was hard to see why (except for the rather generous décolleté) the Count was so interested. The Bartolo of Alfonso Antoniozzi was more than adequate and at times distinguished. Less can be said for the Basilio of Giovanni Furlanetto whose vocal problems were not well disguised. Claire Larcher made good work of her one aria as Berta and was accomplished in the many pratfalls she was assigned in this role. The fine Italian maestro, Evelino Pido, with the Orchestre National de France in the pit, kept everyone skipping along crisply.

A special treat this month was to finally see an opera, in the Parisian suburb of Maisons-Alfort, that has been circulating in France for the past few months. This opera, La Finta Cameriera of Gaetano Latilla, was created in Naples in 1737 and last performed in Paris in 1752. Performed by Antonio Florio and the soloist and orchestra of La Cappella della Pietà dei Turchini, this charming farce, loaded with inventive, inspired music, was well sung by Roberta Invernizzi in the title role. She has an expressive voice and impressive tessitura and was well complimented by the fine Filindo of Francesca Russo-Ermolli. A reviewer noted that this production has been recorded so we should not have to wait another 250 years to hear it again.

A new opera, by 48-year-old Philippe Manoury, was debuted at the Opéra Bastille. Based on a novel of Franz Kafka, the opera, entitled K..., extensively uses electroacoustic music, coordinated with an orchestra in the pit, conducted by the new music specialist, Dennis Russell Davies. The 12 scenes, 110 minutes in all, are played without interruption and without set pieces like trios, ensembles, etc. Following the action of Kafka's The Trial, it tracks the lead character, Joseph K, as he is accused of we-know-not-what. German baritone Andreas Scheibner is in the title role and is present during almost the entire opera. His performance as the anonymous victim is strong and does much to keep this opera from lapsing into musical vagueness. Indeed, one critic carped that the composer 'did not create an opera, he created an atmosphere.' Another performance that impressed was the role of the strange painter, Titorelli, played with skill by the veteran character tenor, Kenneth Riegel.

Marie Goyette and Yumiko Tanaka in Hashirigaki by Heiner Goebbels at the Theatre Nanterre

Two other Paris events, while not strictly opera, were remarkable and innovative events for the lyric stage. The first, by much-discussed young German composer Heiner Goebbels, is called Hashirigaki and was a mind-bending mixture of musical styles. Performed at the Theatre Nanterre, Goebbels combined large chunks of traditional Japanese music with his own, vaguely repetitious and sometimes jazzy music and added a significant measure of music by The Beach Boys, all played with dance movements, theater, and mime. The performance features three actors/dancers (they only sing the Beach Boys songs, and are not professional singers). Yumiko Tanaka plays traditional Japanese music and sometimes Goebbels, on her collection of various instruments. Marie Goyette plays a hand-pumped portable organ and Charlotte Engelkes plays a theramin - an electronic instrument from the 1940s which makes sounds when you pass your hands near it. And when they all are not playing or singing, they are reciting (in English) large sections of Gertrude Stein's early work, 'The Making of Americans.' The composer has also staged this imaginative and beautiful theater work and designed sets and lighting. It was, to say the least, an interesting evening.

The innovative, risk-taking American stage director, Peter Sellars, has taken on the perhaps redundant task of adding dramatic elements to the Cantatas of J. S. Bach. Fortunately he had the assistance of one of the most talented and intelligent mezzo-sopranos on stage today, Lorraine Hunt Lieberson. She sang the Cantatas BWV 82 and 199. It was semi-staged by Sellars and Hunt was moving in Cantata BWV 199, Ich habe genug, as a hospital patient in green gown and thick socks, with IV tubes, working with dancer Michael Schumacher, who, as in the John Adams El Ninõ in December, was again a hovering angel. Even without the stage business, her aria, 'Schlummert ein, ihr matten Augen' will be long in the memory of those in the sold out Cité de la Musique theater.

The Théàtre du Châtelet has announced its 2001-2002 season and it contains some interesting events for those Paris-bound next season. It starts off in September with Jessye Norman in a Robert Wilson staging of Schubert's Winterreise. A revival of the Peter Eötvös opera Three Sisters and a new production of L'Amour de loin of Saariaho in a Peter Sellars production will precede a holiday revival of La Belle Helénè, the big hit last season, again with the conductor Marc Minkowski and the designer Laurent Pelly. Sir Simon Rattle will do a Fidelio, and Handel's Rodelinda will be conducted by William Christie. The Oberon of Weber will be conducted by John Eliot Gardiner and Renée Fleming will do just two performances of Bellini's Il Pirata in May.

The Opéra de Paris has the coming season's details on their website www.opera-de-paris.fr. Opening the season will be Rigoletto with Sartori, Nucci and Swenson followed by a new production of Attila with Samuel Ramey. A Billy Budd will feature Bo Skovhus and the great José Van Dam will sing a Don Quichotte. Some others of note are La bohème performances which feature the Alagna-Gheorghiu duo and the French tenor will also be teamed in Carmen with Denyce Graves. Renée Fleming will be doing a several performances of Rusalka to end the season at Bastille. At the Palais Garnier, there are five operas including a double-bill of Zemlinsky's Der Zwerg with L'Enfant et les sortilèges of Ravel, Platée of Rameau with the Minkowski/Pelly team, a new production of Idomeno, and a repeat of this season's lovely Die Zauberflöte.

April

Ben Heppner as Peter Grimes at the Bastille

The imposing figure of the grand tenor, Ben Heppner, dominated the opera scene in Paris in April. His masterful performance of the title role in the Benjamin Britten opera, Peter Grimes, won remarkable praise from the public and critics. Great singing was also featured in a splendid Falstaff at the Théàtre du Châtelet and two important young American singers made their French debuts in a lovely work by the rarely performed composer, Johann Adolf Hasse.

On April 2 the Opera de Paris, Bastille was buzzing with excitement about the debut on the Paris opera stage of Ben Heppner. While not one of his usual Heldentenor role, he has performed Grimes in many great opera houses. I was not surprised by his wealth of vocal riches but what impressed here was the extraordinary sensitivity he brought to the role of this troubled fisherman. His nuanced, passionate portrayal places him alongside his fellow Canadian, John Vickers, at the top rank of interpreters of this role. His last act aria 'Steady, There you are! Nearly home!' was chilling in its intensity.

A fine supporting cast was assembled and notable was a superb Ellen sung by Susan Chilcott and a bumptious, powerfully-sung Auntie of Stephanie Blythe. Veteran Alan Opie was perfect as Captain Balstrode and Della Jones was the disapproving Mrs. Sedley to great effect. The Opéra's Musical Director, James Conlon, directed with hot-blooded passion and the sea interludes were particularly impressive.

The stage director and designer of this production was the ubiquitous Graham Vick and he had a story to tell which was far different than that imagined by the librettist. Almost certainly a reference to the anti-paedophile riots in Portsmouth (England) last year, he has moved the action to the present day and the opening coroner's hearing takes place in a schoolroom with institutional furniture and children's art on the walls. Outside a mob is assembled with banners and signs (one said, improbably, 'go home'). The next scene has fishermen delivering their catch to a giant square truck and the inn becomes a tawdry glass-walled bar with pinball machines. At the end of the opera, when the mob assembles to begin their search for Grimes, pouring out of the back of a lorry which was the site of their disco dancing, they engaged in a veritable orgy before setting off on their hunt. This behavior is apparently for the benefit of those few in the audience who might have missed the hypocrisy of this action. One wonders why Grimes wants to win the acceptance of this vulgar, trailer-trash community. Layering another story and a different meaning on top of a libretto of an established masterpiece like Peter Grimes is all too common on the world's opera stages today but does little to clarify the drama or illuminate the genius at the core of the work.

Ben Heppner as Peter Grimes at the Bastille

The Opéra de Paris scheduled two other operas this month. At the Bastille opening the 13th was a reprise of the highly acclaimed Robert Carsen production of Les contes d'Hoffman with the veteran James Morris in the dual role of Lindorf and Coppelius. The Korean soprano Sumi Jo was the beautiful and vocally agile Olympia and was warmly received. Cristiana Gallardo-Domas was the Antonia with Giulietta played by Jeanne Piland. Tenor Marcus Haddock was Hoffman and Dr. Miracle/Dapertutto was firmly sung by Alan Held, but this evening the honors go to the ladies for insuring the success of this old favorite.

Over at the Palais Garnier, a team with a long record of successful opera production stumbled badly with Handel's Ariodante. Marc Minkowski has achieved almost mythical status, while still in his 30's, as having the golden touch in conducting opera. Somehow his Midas touch failed him this time and the production, with acclaimed stage designer Jorge Lavelli was scoured by the critics and public alike. A gimmick-filled stage and pointless and even silly ballet never coalesced and everyone, including the cast and conductor, seemed to be wandering lost in the chaos. Even the great mezzo, Anne Sofie von Otter, in the title role, could not find her motivation. Patricia Petibon managed to distinguish herself vocally as the lady-in-waiting, Dalinda, as did Laura Claycomb in the role of Ginevra.

John Elliot Gardiner was at the Théàtre du Châtelet with his orchestra, the Orchestre Révolutionnaire et Romantique and the Monteverdi Choir for a historically informed performance of Verdi's Falstaff. This is the second part of the centennial celebration, the first being last month's Otello and ending in May with the Concertgebouw Orchestra and Riccardo Chailly doing the Requiem. With the orchestra on stage with the cast above in the rear and in front, it was an energetic production, perhaps a tribute the old Max Sennett films, with a lot of dashing about. Placed somewhere in mid 19th Century England, rather than in the Elizabethan era, Falstaff, here the excellent comic actor and baritone Jean-Phillippe Lafond, goes off for his rendezvous in top hat and tails, looking very much like a cartoon in Punch Magazine. Fenton, sung with appealing grace by Juan Diego Flórez, was dressed like a Cambridge student on a weekend break.

Gardiner has rethought the opera in its entirety and the first thing noticed was the absolute clarity of texture and wealth of orchestral detail not heretofore obvious. Playing the music on original instruments quite naturally reduces the overall volume of the orchestra and, as a consequence, the singers could concentrate more on the ensemble work and producing more clear and precise vocal lines. This refinement, coupled with the unfamiliar sounds made by many of the original instruments, was particularly effective in the last act, which was of unearthly beauty and grace and magical in its impact. The singing of Rebecca Evans, as Nannetta, in her last act aria, was of uncommon beauty and the floated high notes were enchanting. Also impressing was Swedish soprano Hillevi Martinpelto as Alice Ford as well as Anthony Michaels-Moore as her aggrieved husband. Most of the principals were the same as in the recent recording of this opera and have been traveling with this production since 1998 so the level of performance and ensemble work was impeccable. Even with all the sensitivity and grace, there was plenty of fun to be had in this delightful evening and the audience acclamation caused the final fugue to be repeated in the performance I attended.

At the Théàtre des Champs-Elyseés, René Jacobs stopped by with his Concerto Köln to perform a concert version of a little heard masterpiece, this time by Johann Adolf Hasse. Marc'Antonio e Cleopatra, a serenata in two acts, was the occasion for the debut of two rising young operatic stars from America. Soprano Isabel Bayakdarian sang the role originally composed for the famous castrata Farinelli, and demonstrated a secure feel for this style of music. She threw herself into this music, singing with passion, and tossed off the many coloratura runs with abandon. The Marc'Antonio was sung by Vivica Genaux, whose rich, warm chest tones and vocal agility was a perfect complement to her partner. The final duet, 'Bella etade avventurosa' is masterful, profound music and was brilliantly performed. It was an important success for these two fine singers and not the least for Jabobs and his band which played with passion and commitment and are now certainly among the most acclaimed of early music groups.

The performance mentioned here last month of Latilla's La Finta Cameriera has been recorded and issued on a CD by the French firm Opus 111. Numbered OPS 30-275/276, it has the same cast and is a delightful introduction to Neapolitan Baroque opera. Another baroque opera recording issued late last year, Reinhard Keiser's Croesus, has broken all sales records for that genre of opera in France and is, I hope, an encouragement to conductor René Jacobs to continue his fine work in mining the archives of opera for hidden treasures.

The third important lyric stage in Paris, the Théàtre des Champs-Elysées, announced its 2001-2002 season and, with this, claims an important role as a significant forum for early opera. Those readers planning a Paris visit are advised to watch for these events, as well as for those of the Opéra de Paris and Châtelet. They are continuing their cycle of Mozart operas conducted by René Jacobs with Le nozze di Figaro in a new production by Jean-Louis Martinoty in October 2001. The following month there is a Rake's Progress staged by André Engle. In March of 2002 Christophe Rousset will conduct Cimarosa's Il Matrimonio Segreto and in June conductor Esa-Pekka Salonen will repeat his Falstaff from the festival of Aix-en-Provence with Willard White in the title role.

There is also an impressive array of operas in concert that include an Ariadne auf Naxos with the Vienna Philharmonic and several important lyric works by Handel with the fine young interpreter, Emmanuelle Haïm at the podium. Wagner's Rienzi, conducted by Jeffrey Tate is followed later in the season with a concert version of Bizet's early opera, Ivan IV, with tenor Sergei Larin. Antonio Florio and his Cappella de Turchini, the same that gave us the Latilla opera mentioned above, will continue his exploration of the Neapolitan baroque with works by Piccinni and Jommelli in May of 2002.

At this theater in September, Cecilia Bartoli will sing a program of Italian arias from works with libretti by Métastase, and will return again in December with I Delfici for a program of arias from Gluck and Vivaldi. Between these, Natalie Dessay will sing a program in homage to her famed predecessor, the great diva Caterina Gabrielli (1730-1796) that will feature arias by Mozart, Gluck, Hasse, Traetta, and Myslivecek. The following year features recitals by David Daniels, Angelika Kirchschlager, Susan Graham, Barbara Hendricks, Dawn Upshaw and Eva Marton. The website for this theater, www.theatrechampselysees.fr, is under construction now but should list the details of their season in a month to two. You can also request their season announcement by writing to the theater at 15, av. Montaigne, 75008 Paris, France.

May

The first staged production in France of Erich Korngold's Die tote Stadt, presented by the Opéra national du Rhin of Strasbourg at the Châtelet

The month started with an event to enliven the spirit and recharge the spiritual batteries. The very amazing Grace Bumbry gave an enchanting lieder recital at the Théàtre du Châtelet on May 3. Billed as homage to the legendary soprano Lotte Lehmann, it had songs by Schubert, Schumann, Brahms, Liszt Strauss and Berlioz. Historians of legendary divas will of course know that she was for some years a student of Lehmann and credits her with overcoming her youthful introspection and awakening her latent talent to become one of the century's great operatic stars. My first encounter with her was in her famous, and then controversial, role of Venus in Tannhäuser at the Bayreuth Festival. Some members of the Bayreuth old guard objected to a black singer in the hallowed festival theater. Their protests were forgotten in the riot of praise and international acclaim that followed. I was a young soldier in Germany who managed to get a ticket in 1963 to the Weiland Wagner staging. Struck by the power and beauty of her voice and her ability to shape a phrase, I became a life-long fan.

Her first songs, a group of lieder by Schubert, were approached carefully. As she reached the animated 'Rastlose Liebe' (Restless Love) she began to be sing more freely and the next one, 'Du bist die Ruh' (Repose you are) was sung with such tender passion, the entire audience held its breath. The subsequent Brahms cycle was executed with style and grace. After the intermission, the two French songs of Franz Liszt were a real surprise. 'Oh! quand je dors' (Oh, when I sleep) was delivered with all the expressive beauty of a great singing actress and was a real jewel of the evening. From Berlioz' La Damnation de Faust, the aria 'D'amour, l'ardente flamme' (From Love, the Passionate Flame) was delivered with consummate skill and makes one wonder why she is not still performing regularly on the world's stages. Three songs each from Schumann and Richard Strauss completed the evening, along with encores of two Spanish songs, two spirituals and the Seguidilla from Carmen. Sensitively accompanied by pianist Helmut Deutsch, the recital was a triumph for Miss Bumbry. The entire evening was recorded, with three cameras, by RM Associates. I am told they have been making DVDs of these Châtelet recitals to be sold in the Japanese market. When it is issued, lovers of great singing should make this part of their collection.

Jia Lin Zhang and Peter Savidge as the lovers in Héloïse et Abélard by Ahmed Essyad at the Châtelet

Photo: M. N. Robert/Châtelet

The first part of a newly inaugurated mini-festival was presented at the Théàtre du Châtelet in May. This new 'Festival des régions' is meant to spotlight the regional lyric theaters in France. This month it was the Opéra national du Rhin in Strasbourg, next year it will be the Opéra de Lyon. The Strasbourg forces brought to Châtelet a new opera that had its first performance last October, and the first staged production in France of Erich Korngold's monumental opus Die tote Stadt. Both were impressive achievements and served notice that the regional stages are gaining in importance, both nationally and internationally.

The new opera, having its first Paris performances, was Héloïse et Abélard from the veteran French composer Ahmed Essyad. Born in 1938, he has already composed several operas, three of which have been recorded. Born and raised in Morocco, he completed his initial music training at the conservatory in Rabat. In Paris he studied with Max Deutsch, a disciple of Arnold Schoenberg, which makes him a third generation graduate of the Second Viennese School. It says that he incorporates Arab-Berber musical styles into his compositions. These were not much in evidence in this opera and its serial musical form, from the Berg, Webern, Schoenberg axis, sounded tired and dated. Although well crafted and serious in intent, the declamatory style characteristic of this era of composition, even during the love scene, was unrelenting and ultimately tedious. The libretto, by a writer of cult-figure status in France, Bernard Noël, was probably more interesting than the music and was followed with care by some in the audience.

The story is well known. Abélard was one of the great scholars of the Middle Ages who happened to fall in love with a bright and lovely student he was hired to tutor. The uncle, her guardian, was goaded by rivals of Abélard to exact an awful revenge: castration. The continued devotion of the couple and their subsequent marriage made their story a famous legend even while they were still living. Abélard was sung with passionate dignity by the fine baritone Peter Savidge. The impressive Chinese soprano, Jia Lin Zhang, played the young Héloïse. Her Third Act aria 'J'ai connu le sexe de l'homme' was an emotional highpoint of this opera. A surprising find was in the role of Fulbert, the avenging uncle, played to the hilt by counter-tenor Johnny Maldonado. Verdi would have cast a baritone in this part and the composer was obviously playing against type in scoring this for a high voice. Maldonado had no problems with this and sang his role with force and convincing passion. The others in the cast were of equal quality and the stage direction, simple and well balanced, contributed to the high standards of production. The Orchestre Philharmonique de Strasbourg, under Pascal Rophé, played admirably and could not be faulted. The lack of fresh musical ideas, however, weighted down the project.

Korngold's magnum opus, Die tote Stadt, was kept from soaring by the concepts of its stage director. There is nothing lacking in the masterful score and the compelling music drama. With first performances on 4 December 1920 in two cities, Hamburg and Cologne (the latter conducted by Otto Klemperer), this opera was an immediate sensation and was produced in many major cities. Later, with the war years, Korngold's late-Romantic music fell out of fashion, except of course in Hollywood where he had a long and successful career composing scores for many of the great films of the 1930s and 40s. The recent production of this opera in New York by the Metropolitan Opera and several recent recordings of his music attest to the increased attention his music is receiving.

In an effort to show that other cities in France can also compete with the director-driven, daffy production so often seen at the Opéra Bastille, the stage director, Inga Levant, loaded up this production with campy excess and moved it to a vulgarized pseudo-Hollywood landscape. Throwing good taste to the winds, one character is a tacky Elton John impersonator. Later, for no apparent reason, an enormous bell was hoisted down, and she had the already very sexy soprano, Angela Denoke, stand over a subway grate where the air lifted her skirt, a'la Marilyn. In the story the grieving protagonist, after losing his wife, is seduced by a look-alike temptress. Levant's temptress, inspired more by Benny Hill comedies than the libretto, plays to the galleries in a vulgar parody of the story. Certainly the great soprano Maria Jeritza, who originated the role of Marietta, did not have to resort to sleaze to seduce anyone. When the two were alone on stage, the real musical sparks begin to fly. Denoke, a gifted soprano, has already attracted a good deal of attention in Strauss roles and her innate sensuality, both physical and vocal, made her an ideal Marietta. The Wagnerian tenor Torsten Kerl was also impressive, especially in the opera's later acts and also when he was not required to be a part of the stage business. In his final act aria, 'O freund, ich werde sie nicht wiedersehen' (O friend, I shall never see her again), he shone brilliantly. The fine baritone Stephan Genz was too briefly on stage as Perrot Fritz and the other cast members were also strong. Jan Latham-Koenig kept the musical pot bubbling in the pit.

Virginie Pochon and Rolando Villazon in Gounod's Roméo et Juliette at Lyon

Photo: G. Amsellem

A short two-hour train ride to Lyon was also scheduled, mostly to see the must-discussed young Mexican tenor, Rolando Villazón, sing in Gounod's Roméo et Juliette. Villazón, who has sang often in French houses, was recently 'discovered' by New York critics when he sang in a nationally televised La Bohème from the New York City Opera. He sings with a fine, warmly handsome tenor voice &endash; a timbre that reminds me of Caruso &enda and reaches the high notes in his role with casual ease. Very likely to surpass some current superstars like Cura and Vargas, he is not someone you would pass up the opportunity to hear. What I was not prepared for was the fine production of the Opéra de Lyon and the high level of singing throughout. The Juliette, Virginie Pochon, was superb, with a strong, vibrant soprano. Her First Act waltz 'Je veux vivre' was tossed with virtuoso pinaché and her youth and passion, matching that of her Roméo, made them an engaging pair of lovers. The fine stage direction of Claudia Stavisky focused the story, appropriately, on the young lovers and the staging of the Act IV 'morning after' scene, Villazón shirtless, is charged with erotic ardor. Deserving special mention was the fine Stefano of Karine Deshayes. She made much of her one aria and should be moving into the major roles soon. As an indication of the depth of talent in this city, the bass-baritone Paul Gay sung the short role of the Duc. He was recently featured in a program on European television, hosted by Montserrat Caballé, as one of the 'stars of tomorrow'. The conductor for this opera, Christian Badea, kept things on a clean, Apollonian course and, on this day, Lyon was a sob and sentiment-free zone. Gounod survived and profited.

Rolando Villazon as Roméo and Philippe Georges.as Mercutio in Roméo et Juliette at Lyon

Photo: G. Amsellem

At the end of the month, at the Opéra Comique, were a series of 8 performances of Vivaldi's little performed Catone in Utica. Its rarity is primarily because the music for the First Act has been, mostly, lost. A recording has been made of the Second and Third Acts by Claudio Scimone some years ago, but the French musicologist Jean-Claude Malgoire was not content to let this fine piece languish on the shelf. He has reconstructed a First Act from the libretto, which still exists in archives in Bologne, which was written by that 18th Century giant of the stage, Pietro Metastase. Adding sinfonias and arias from other works &endash; a common practice among composers of that era &endash; Malgoire completed the work for presentation in Tourcoing in May of 1998. It is this production that is now being seen in Paris. The story is about the famed stoic and senator, Cato, and his conflict with Julius Caesar and his armies, arriving at the port of Utica where Cato was governor. It is clear that Verdi was not the first Italian composer to take up the cause of liberty against tyranny. For this, Malgoire was joined by his band, La Grande Ecurie et la Chambre du Roy and a fine cast. Outstanding among them was the extraordinary Polish sopranist Jacek Lazczkowski as Caesar. Possessing a light, clear soprano, his glorious silver threads of vocal line were haunting in their beauty. Simon Edwards was solid and contributed much as Cato and the talented soprano Manuela Kriscak was an imposing Marzia. Another fine French counter-tenor, Philippe Jaroussky, was an imposing Arbace. The sets and direction were colorful and uncomplicated and left the singers, correctly in this case, at the center of the work. Compliments to Malgoire and the splendid cast for a rare and memorable musical experience.

June

Edmund Audran's La Mascotte at the Opéra-Comique

Photo: Etoiles ZAZ

The Opéra de Paris is flexing its considerable muscles in June with the final two productions of its 2000-2001 season. The last is on June 27, opening night of a new Manon with Renée Fleming and Marcello Giordiani. La Damnation de Faust, which opened on the Fifth of June, was a production that, until now, has only been seen at the Saito Kinen festival in Japan in 1999. It apparently was well received then and, in its first appearance in Paris, is an unqualified success for the director Robert Lapage and another triumph for the conductor Seiji Ozawa.

Not an opera in the traditional sense - Berlioz finally chose to call it a 'dramatic legend' - it makes great demands on the orchestra and conductor, who are at the center of the action. These challenges were met magnificently by an orchestra and chorus that reached new heights of eloquence. Already enjoying new respect under the leadership of Music Director James Conlon, it played like a virtuoso instrument for Ozawa. It was a performance of blazing brilliance, with tight tempos and stirring energy.

It also creates demands on the production team because of the long stretches of music interrupting the drama. In the 1960's, at the Palais Garnier, the Opéra had Maurice Bejart stage this work, with ballet as an integral part of action. Here they employed the very creative Canadian stage designer Robert Lapage. With designer Carl Fillion, he used the full forces of the team at the Bastille to create stunning visual images that were carefully calibrated to fit with the action and music. Treating the proscenium like a 16/9 format television screen, he divided it into grids to provide repeated images of often stunning impact. Employing dancers, climbing acrobats, extras and filmed images to fill the squares, the scenes fit well with the music and were, except for some merely decorative moments, a significant artistic achievement, as well as fine theater. The size and complexity of this production, with its incumbent costs, might discourage companies less blessed with resources, both financial and technical.

Giuseppe Sabbatini, Jennifer Larmore, and José van Dam as Faust, Marguerite, and Méphistophélès in La Damnation de Faust at the Bastille

Photo Eric Mahoudeau

Projecting images on screens in opera is not a new idea. I remember Frank Cosairo doing this in a production of A Village Romeo and Juliet at New York City Opera in the late 1970's. But the technology has developed since then. The video artists Bill Viola and Nam June Paik have made video images into high art and an important part of many contemporary art collections in major museums. The projected images are no longer washed out but crystalline and are capable of multiplication and manipulation. Here each grid has its own retractable screen so images can be projected on some grids, or in the case of the Part Three aria of Marguerite, a single image can occupy the vast Bastille stage. When Jennifer Larmore sings 'D'amour, l'ardente flamme' the image behind her is of a giant fence of branches, filling the whole stage, gradually being consumed by outsized flames.

Larmore's singing was a bit of a disappointment. Obviously very talented, she sang very well but missed a level of interpretation that would make her a great Marguerite, much like a candidate in a voice competition: a finalist but not a prize winner. Last month at Théàtre du Châtelet, Grace Bumbry sang the same famous aria. It was a lesson to all young singers on how to make this aria the imposing musical statement that it is. José Van Dam was his usual impeccable self and sang Mephistophélés with grand menace. On the night I attended, the tenor Giuseppi Sabbatini was indisposed and Keith Lewis sang Faust. Apparently reached while on vacation in Paris, Lewis was a classic last-minute replacement. Unfortunately, on this trip Mr. Lewis forgot to pack his top. In an otherwise credible performance, when he went high, the sounds were lamentable. The American baritone Clayton Brainerd sang a sturdy Brander.

La Damnation de Faust at the Bastille

Photo Eric Mahoudeau

The production shared honors with the conductor this evening. The association of the stage images with the music was innovative in opera production and contributed much to an astonishing operatic event. During the musical interlude 'La course a l'Abime," for example, where Faust and Mephistophélés are described in the text as galloping on black horses, Lapage uses eight repeated images of running horses by the early photographer Muybridge. As these horses gallop, in cadence with the music, shadow figures of Faust and the devil, suspended on wires, mime the riding in each frame.

This new approach of combining the visual with the musical could be a part of the future of opera. Last December, at the world premiere of El Niño by John Adams at Paris' Théàtre du Châtelet, the audience saw singers with some stage action, and all coordinated with a film by Peter Sellars bringing the nativity story into contemporary East Los Angeles. Whether or not this is the course of opera production in the Twenty-first Century, this production, done with such skill and creative energy by Robert Lapage and his team, was one of most impressive theatrical experiences in my memory.

The skipping young girl just off the stagecoach and ready for the world was indeed our Manon, soprano Renée Fleming (I had to check with my opera glasses…yes it was). This eagerly-awaited final production of the Opéra de Paris season was a rare opportunity to catch one of the reigning queens of the opera stage in a role in which she has already achieved much critical acclaim. This production, first seen at the Bastille in June 1997, also stars tenor Marcelo Alvarez, and was designed and staged by Gilbert Deflo.

Marcelo Avarez as des Grieux and Renée Fleming as Manon Lescaut in Massenet's Manon at the Bastille

Photo Eric Mahoudeau

Starting slowly, Fleming seemed a bit distant and not totally involved during the first two acts. The acting was good but the delivery with without a great deal of nuance and passion. Were her critics correct? Is there more style than substance to her career? In the Third Act, bejeweled and dressed in red, this diva began to sing like the opera magazine cover girl she is. She seemed to sense the pending triumph after a virtuoso delivery of the famous gavotte 'Obéissons quand leur voix appelle', and the rest of the performance was spot on and splendid. It was an outstanding achievement for this fine soprano at the top of her form.

The Argentine tenor Marcelo Alvarez, as Chevalier des Grieux, was world-class and utterly engaging and the two made an attractive pair of lovers. His Act II aria, 'En furmant les yeux' was delivered with quiet intensity, and with such impeccable style, it was magic at the opera. He has fine range and good timbre. He sang with an appealing warmth and passion and also scored a significant triumph. His French was adequate and there was the text projected above the stage if anyone had questions.

I herewith nominate, as the first inductee into any future operatic Hall of Fame, tenor Michel Sénéchal. His performance of Guillot was an absolute perfect jewel and, last year he celebrated 50 years on stage! Commanding a full and pleasing voice even at this stage in his life, he also knows how to inhabit a role and bring it to life like few others. The other roles were also impressively sung. Jean-Luc Chiagnard was a fine Lescaut and Franck Ferrari was a blustery Bretigny. Baritone veteran Alain Vernhes sang, with particular strength and beauty, the role of Des Grieux pére. Worthy of mention too is the trio of women, Jaël Azzaretti as Poussette, Isabelle Cals as Javotte and Delphine Haidan as Rosette. In smaller houses around the world they would have lead roles and all three were terrific.

The production, by Gilbert Deflo, was handsome and consisted of massive, dark curvilinear shapes serving to carve up the soccer-stadium size stage into manageable bits. This, and the lighting, by Joël Hourbeigt, which highlighted the tables chairs and beds that were the focus of the action, made for a simple and effective staging of this work. The minimal décor and splendid costumes, by William Orlandi, were of the period and appealing. Well known Spanish conductor Jesus Lopez-Cobos, while not exactly a 'routiniere', did not find much magic in the score but did fine some nice detail and good balance.

Marcelo Avarez and Renée Fleming as the lovers in Manon at the Bastille

Photo Eric Mahoudeau

1913 was some year to be in Paris! Although the Great War was looming, it was the spectacular opening season of the art deco Théàtre des Champs-Elysées. A terrific bill of fare was on display to establish it immediately as the place to be in the Paris musical scene. In addition to a then-rare Western Europe performance of Boris Godunov (with Chalapin, of course) they had the Ballets Russe with Nijinski dancing the orgasmic Afternoon of a Faun, Debussy's final ballet Jeux was debuted, along with the riotous Rite of Spring of Stravinski. Not the least of the offerings was the Paris premiere of the new opera of Gabriel Fauré, Pénélope. The composer, already 50 years old, was at the height of his powers and this was a much-anticipated event.

Eighty-eight years later, a rare performance of this masterpiece can be heard in the same theater. With Claude Schnitzler, of the Opéra de Rennes and Liepzig, on the podium directing the Orchestra National de France, the Chorus of Radio France, and with the fine soprano Isabelle Vernet in the title role, it was a performance that suggests that a critical reexamination of this opera is appropriate. This concert was broadcast on France Musique and on many other stations throughout Europe on the evening of the 16 June.

I have to admit to a special regard for the music of Fauré and it is often his chamber music that I chose in those soft, late-afternoon hours when the sun is low and golden. Apparently for the French too the prospect of a full-scale opera by this master of chamber music seemed odd. There were empty seats at the beginning of the evening and these increased during the performance. As the reviewer for Le Monde pointed out, getting Parisians to an opera by Fauré is like asking them to buy tickets to a Stabat Mater of Chopin. But the patient listener will find the same master at work in this opus, with all of his skills of orchestration and his easy ability to write beautiful melodies clearly in evidence. His music, so tender but still with an underlying edge of intensity, places him at the front rank of the late-Romantic composers and this opera, loaded with splendid musical moments, only confirms that position.

The gentleness and reflective nature of his musical soul always reminds me of his contemporary, Frederick Delius who has also written fine operas that are today not often performed. But the frequency of performance of A Village Romeo and Juliet is far ahead of the Fauré opera. Perhaps the reason is Fauré's libretto, taken from The Odyssey of Homer by a young, inexperienced and ultimately untalented René Fauchois. Fauré's letters to Fauchois about the text are a catalogue of complaints that will be repeated by critics of this work. Most likely the fault lies in the ultimate source of this plot. With all deference to our blind poet, the characters are mostly archetypes and perform symbolic roles in the tradition of ancient theater. This Greco-Roman theatrical style, widely used by the Baroque composers, is not to the taste of modern audiences, used to the more realistic theater traditions of the last two centuries. The Delius opera is more widely performed because it has a more modern feel. The love duets and a heated emotional climate produce compelling opera moments. That is missing in Pénélope.

In order to bring Handel operas back to the stage, for example, directors have had to devise creative production strategies to make these antique plots palatable to contemporary operagoers. These same new theatrical techniques to perhaps be applied to this fine opera to bring it back, at least occasionally, to the world's opera stages. The music is too important to be left on the shelf.

The orchestra and vocalists worked hard to make a case for this opera. Isabelle Vernet, in the title role, is apparently having a period of difficulty with her voice, at least on the evening in question. It lacked the control and lyric ease heard in past performances. The supporting roles, fourteen in all, were sung ably and often engagingly. The conductor, Claude Schnitzler, a last minute substitute for the indisposed Pinchas Steinberg, having conducted this work in Lausanne last year, was able to fill in and make a significant musical impression.

Isabelle Vernet as Bettina and Marc Barrard as Pippo in La Mascotte at the Opéra-Comique

Photo: Etoiles ZAZ

Isabelle Vernet is also featured in Jérôme Savary's staging of the almost-forgotten comic opera, La Mascotte by Edmund Audran (1842-1901) at the Opéra-Comique. Opening on June 28, this delightful romp through Belle Epoque popular musical forms was staged with a deliberate effort to recreate how it must have looked originally and the sets were, to say the least, traditional &endash; complete with painted backdrops.

Those familiar with Savary's work, however, will not be surprised by the corps of pom-pom girls, the chorus of rugby players, and the broad comedy used in this production. Soprano Isabelle Vernet plays the mascot of the area who falls in love with a shepherd, here the baritone Marc Barrard. She brings good fortune to the principality - but only if she can remain a virgin. Complications arise upon the arrival of the old Prince Laurent XVII and his over-sexed daughter, Fiametta. It all ends well, however, with the two lovers being married, and anticipating that the powers of the mascot will be rediscovered with the children. The veteran of the boards, Jacques Seyres, was an engaging Laurent XVII. His long career, starting at the Comédie Francaise in 1955, means that, by now, his role is more spoken than sung but he had such style and charm. Vernet still has problems with her voice but her role as the plucky, turkey-tending mascot relied more on her comic talents than anything else, and this she has in abundance. As her lover, Pippo, Marc Barrard probably recorded the best of the vocal performances of the evening. But this opera, or perhaps, operetta, does not depend on the voice. Since the level of singing was not much better than your average dinner theater, there is something else here that perhaps your reporter, not being a native of France, was missing. For me much of the music was like you might hear on a carousel, but some of the songs from this work have entered the popular culture and you could tell that the audience was clearly having a good time. The orchestra in the pit was Ensemble Orchestral de Paris under the enthusiastic direction of Jérôme Pillement. This production has been, or will be seen, in Nice, Marseille, Toulouse and Saint-Etienne. I was a block or two away and you could still hear the company repeating some popular choruses and the audience continuing to cheer.

A historical note: this opera was a huge hit at its 1880 Paris appearance and was soon enjoying success in London, Berlin and New York. By the end of the century, it has over 2000 performances in Paris alone. By comparison Manon (1884), Massenet's biggest success, had to wait until 1950 to reach the same number at the Opéra-Comique.

July

Aida at the Théàtre antique d'Orange

Photo Grand Angle - Orange

With very little going on in the way of major lyric events in Paris in July and August, most Parisians are, for the good part of the Summer, on vacation and this often includes the South of France. The three major French summer festivals, in Orange, Aix-en-Provence and Montpellier, reflect this Southern migration and their expanded activities this year indicate an increased attention to opera during the warm months.

Those that were tardy in leaving the capital could enjoy an early July opera at the Festival of Saint-Denis, a suburb of Paris. The events take place on a stage at the huge Basilica of Saint-Denis, which was the former spiritual seat of the kings of France. The opera I caught was Verdi's Giovanna d'Arco starring Dennis O'Neill as the French king and Denia Mazzola as his spiritual - and military - savior. It was a high-energy, passionate performance, swept along behind Marco Guidarini's forceful conducting of the Orchestra National de France and Choir of Radio France. The imposing resonance of the enormous space often added, but sometimes subtracted, from the overall performance. Speaking of enormous spaces, the last event in the festival was an Aïda performed on 14 July in the vastness of the Stade de France. The press and most of the opera-loving public largely ignored this megalomaniac effort, also conducted by Guidarini.

With France suffering with the wettest July in recent history, the night of July 10 was fortunately clear, if cool, and without the Mistral winds that often whip at the clothing of the artists. Aïda, also the opening opera in the Choregies d'Orange Festival, was a tribute to the master of Busetto on the centenary of his death. July also had two performances of Rigoletto, the Requiem, with a quartet of Papian, Uria-Monzon, Alagna and Scandiuzzi, conducted by Mung-Wung Chung, and a Don Carlo to follow in August, conducted by Pinchus Steinberg. This is the first summer that the festival has presented three operas and, with its recital series and concerts, this marks a significant expansion of activities.

The Théàtre antique d'Orange is from the Roman era and, with its steeply raked seats, the 9000 audience members are all reasonably close to the stage. There is no need for amplification as with the arena settings of Verona or Nimes. Big operatic names are also a feature of this festival and this production features some of the best on the stage today. The Orchestre National de France is down from Paris with a festival choir drawn from the principal opera houses of the South of France were conducted here by the noted Israeli conductor, Eliahu Inbal.

Vladimir Galouzine as Radames in Aida at Orange

Photo Grand Angle - Orange

The Aïda for this series, Marion Feubel, delivered an effective, careful, if not specially nuanced performance. The real star of the evening was the Russian tenor, Vladimir Galouzine, who sang Radames with a high-voltage intensity and power rarely seen on opera stages today. Now that he is on top and in demand everywhere, I hope he takes the time to improve his Italian pronunciation. His inability to get his mouth around the Verdian vowels, apparent mostly in the Tomb Scene, was the sole distraction in an otherwise superb performance. Dolora Zajack repeated her Amneris, a role in which she has become renowned, and the scenes with her and Galozine were filled with excitement.

A trio of fine Italian singers completed this cast, with Carlo Guelfi as Amonasro, Giacomo Prestia as Ramfis and Georgio Guiseppini as a particularly resonant King of Egypt. The production was impressive, given the limitations of the theater, with gobs of gold fabric used in the costumes. The chorus was enthusiastic but, like many summer productions, lacked the cohesion and rehearsal time to make an imposing statement.

Carlo Guelfi as Rigeletto at the Choregies d'Orange Festival

Photo Grand Angle - Orange

The Amonasro, Carlo Guelfi, lingered on in Orange and strapped on his hump for a turn as the lead in Verdi's Rigoletto. He sang a forceful, if not entirely accurate, jester and had the strong-voiced French soprano, Norah Amsellem, as his daughter. The Duke of Mantua was sung by with passionate beauty by tenor Marcelo Alvarez. Two operatic heavyweights, Beatrice Uria-Monzon as Maddalena and Paata Burchaladze as Sparafucile, provided additional fireworks for this high-level performance. The stage designer, Paul-Emile Fourny, wisely used the maximum of the ancient, character-filled back wall of the theater. The Orchestra National de France and festival chorus were conducted by the indefatigable Marco Guidarini.

Those who liked more varied fare could drive a few hours to the Festival international d'art lyric d'Aix-en-Provence. Here, the sole Verdi work was Falstaff combined with a new Le nozze di Figaro with Marc Minkowski conducting, and Die Zauberflöte with Natalie Dessay singing the Queen of the Night. In addition to chamber music, recitals and orchestra concerts, the small Théàtre du Jeu de Paume had an acclaimed production of Britten's Turn of the Screw designed by Luc Bondy. There was a new sense of adventure in the productions here as Stéphane Lissner, formerly director of the Théàtre du Châtelet in Paris, makes his mark on this festival. He is determined to make Aix one of the premiere destinations of sophisticated, music loving Europeans. This year he is challenging Salzburg and, with a Simon Rattle Ring Cycle, will be facing off with Bayreuth in 2005 to 2009.

Willard White in the titel role of Falstaff with Yann Beuron as Fenton at the Festival of Aix-en-Provence

Photo © Elisabeth Carecchio

The Falstaff was a substitution for the originally scheduled world-premiere of an opera by conductor/composer Essa-Pekka Salonen. When it was clear that the opera would not be ready in time, Salonen proposed the Verdi opus as a good use of the talents of baritone Willard White whose was scheduled to star in the new work. Because White, one of the great singing-actors on the world's opera stages, does not seem to be your typical jolly fat knight, Lissner ask director Herbert Wernicke to rethink this work. As a result, he created a much more complex characterization of Sir John that the comic one usually seen. While some critics balked at this, there was never before a Falstaff with such wit and dignity, and wonderfully sung with White's burnished, glistening baritone.

The slapstick was carried on here by the Pistol of Paolo Battaglia and the Bardolph of Santiago Sanchez Jerico, who together resembled Laurel and Hardy. The quartet of women, largely, and wisely, left alone by Wernicke, shown with particular brilliance: Charlotte Hellekant was Meg Page, Geraldine McGreevy was Alice Ford with a delightful Nora Gubisch as Mrs. Quickly. Miah Persson and Yann Beuron made a charming and amusing pair of lovers, with Beuron singing Fenton with great charm. Marcus Jupither was a restrained and carefully modulated Ford. This production, loaded with character detail, was also loaded with energy and made for a fine night at the theater. Hours before his departure for rehearsals, Salonen became ill and an ear infection prevented his flying. The young Italian, Enrique Mazzola, was rushed in to take the helm at the Orchestre de Paris for this production. He conducted a careful and unidiomatic interpretation that was the best that could have been expected under the circumstances.

Véronique Gens as the Countess in Le nozze di Figaro at Aix-en-Provence

Photo © Stéphanie Tétu

What singing and acting treasures were to be found by that legend of the British stage, director Sir Richard Eyre, in his critically praised new production of Le nozze di Figaro! Working with a young and attractive cast, it was, like the Falstaff, staged in the open-air theater in the former Archbishop's palace. Swedish soprano Camilla Tilling as Susanna and the lovely Czech mezzo, Magdalena Kozena as Cherbino received much of the critical attention, as did the finely etched Countess of Véronique Gens. Marc Minkowski, one of the pre-eminent young conductors on the festival circuit, provided inspired music making with the Mahler Chamber Orchestra.

Speaking of young conductors, it was twenty-five year old Philippe Jordan, directing the Orchestra of the Opera of Lyon in Die Zauberflöte, which contributed to the success of that production. This much-praised production by Stéphane Braunschweig, featuring a team of young singers largely from the Opéra de Lyon, has toured widely in Europe after originating in Aix in 1999. Famed soprano Natalie Dessay flew in to sing the Queen of the Night from her rehearsals of the role of Zerbenetta in Ariadne auf Naxos at Salzburg.

The biggest critical splash involved still another young conductor. Luc Bondy's staging of Benjamin Britten's Turn of the Screw featured another 25-year-old, the English conductor Daniel Harding (who looks about 17). Already having made a great name for himself, he is booked at Aix for the foreseeable future. His incisive, taut conducting of the Mahler Chamber Orchestra united perfectly with Bondy's tension-filled direction where every detail worked together with the music. With Marie McLaughlin as Miss Jessel and Mireille Delunsch as the Governess, and blessed with two able actors playing the 12 and 13 year old children Miles and Flora, it was a sold-out success in the small Théàtre du Jeu de Paume.

For those looking for a real operatic adventure, another short drive would have led you to the Festival de Radio France-Montpellier. This festival, under director Rene Koering, has made a name for itself in recent years by searching the archives for operatic gems long forgotten, dusting them off and giving them high-profile exposure with fine casts. It has recently caused the recording of, for instance, Ernest Bloch's opera, Macbeth, and a Donizetti rarity, Gli Esiliati in Siberia (The Exiles in Siberia). Last year's offering, Vittorio Gnecchi's Cassandra, (which many found to have similarities to Strauss' later opera, Elektra) was also recently issued on the Agora Musica label. This year it is presenting, in concert version, Franco Alfano's opera Risurrezione, based on Tolstoy's novel Resurrection, and reviving Franz Schmidt's Notre Dame, after the novel by Hugo. The festival opened with a double bill of Mascagni's Cavalleria Rusticana paired with another opera of the same name composed 17 years later by the Italian composer, Domenico Monieone. For the four principals in both works, Denita Mazzola sang a high-voltage Santuzza with Jean-Philippe Lafond as a powerful Alfio. Tenor Janez Lotric never rose above adequate as Turiddu but Nana Kavtarashvili was impressive as Lola. The sorry fate of the also-ran Cavalleria was certainly not deserved as it is a fine and well-constructed 50- minute opera. It was lost in the shadows of Mascagni's masterpiece but is certainly worth a hearing.

Franco Alfano is largely known now as the composer who completed Puccini's ideas for the last act of Turandot. His four-act opera, Risurrezione, was premiered in 1904 and received much attention and many performances prior to the Second World War. With its warm orchestration and fine vocal lines, it is in the turn-of-the-century Italian operatic tradition. Denita Mazzola was again featured in this opera, and did not stint on her vocal powers of persuasion. She was well supported by the fine American tenor Antonio Nagore and by the baritone Valdimir Petrov. Friedemann Layer was the conductor of the Orchestre National de Montpellier.

On the final day of July, I was able to hear a performance of Notre Dame by the Viennese composer Franz Schmidt. Veteran conductor Armin Jordan took up the baton for this two act opera that retells the story of Quasimodo, Esmeralda, and their friends and enemies. Brigitte Hahn was a poignant and effective Esmeralda and Raif Lukas was a sonorous Quasimodo. The late-hour replacement of tenor Torsten Kerl, Steward Skelton, had such difficulty with the role of Phoebus that this opera will need some studio work before being considered for issuance on CD.

August

The sacrosanct vacation month of August is a time when much of France is closed and on vacation. The festivals of Aix-en-Provence and Montpellier are finished and except for a final production in the festival at Orange, there are no major productions that would merit international attention. There are, of course, a myriad of festivals in the various regions of France and you can hardly vacation anywhere in this country without having the opportunity of hearing a string quartet or piano recital in an old church or palace courtyard somewhere nearby.

The final production of the Festival Choregies d'Orange was the completion of their three opera tribute to Giuseppe Verdi. Don Carlo, with a stellar cast and an impressive production, was a fitting finale to the centenary of the death of the composer. Sergei Larin, in the title role, was announced to be ill but nevertheless performing. Those who witnessed his splendid performance in this same role at the Opéra Bastille in the spring could notice the restraint in his voice. Even at half strength, however, this Russian tenor can still deliver a fine performance.

The others in this fine cast had apparently no health problems and the singing was exceptional. Hasmik Papian was a moving and sensitive Elisabetta. Her performance in the Verdi Requiem, which was part of this festival, was a herald of her mastery of the Verdian soprano repertory.

Roberto Frontali, as Posa, seemed to be sometimes vocally dry and harsh, but his portrayal was nevertheless strong and passionate. Roberto Scandiuzzi was an impressive King and, in perhaps the most impressive of all the performances, Willard White dominated as an imperious, ominous Inquisitor. His essay of this role is masterful and one of the grandest performances in my recent memory. He is singing Sparafucile at the opening Rigoletto at Opéra Bastille in a few weeks and this alone should be worth the admission price.

Giovanna Casolla is moving into the mezzo repertory with her role as passionate and commanding Eboli. The fine conductor, Pinchus Steinberg, kept things moving along in the pit at a good pace and the emotional level high-pitched. An impressive production, with costumes more elegant than the earlier productions this year, made this a pleasing and memorable evening.

Next month is the opening of the season at Châtelet with a performance of Die Winterreise sung by Jessye Norman and, at the Opéra de Paris, a Rigoletto with Leo Nucci in the title role and Attila with Samuel Ramey. Before that, I will be reporting on the opening of the Montreux Music and Voice Festival which features such young stars as conductor Marc Minkowski, soprano Veronique Gens, Camilla Tilling, and the mezzo Magdelena Kozena.

September

Rigoletto at the Bastille

Photo: Eric Mahoudeau

The first days of September were spent in the agreeable surroundings of Montreux, Switzerland. Every year this lovely resort town on Lake Geneva plays host to the Montreux Voice and Music Festival. The opening concert at the Auditorium Stravinski on August 31 was Vivaldi's only surviving oratorio, Juditha Triumphans. Sung with the power and commitment this imposing work deserves, it was enthusiastically received and a formidable beginning to the festival.

This oratorio, labelled a 'sacrum militare oratorium', was composed in Venice in 1716, and is the only one of four composed by Vivaldi to survive. Written, of course, when the 'red priest' was in charge of music at the girls' orphanage of Ospedale della Pietà, it is remarkable testimony to the wealth of talent and training available in this large institution. Composed to celebrate a victory in the long contest between Venice and the Turks, it uses the story of the Judith from the Old Testament and her victory over the forces of Nebuchadnezzar. In telling this story, Vivaldi structured the work for maximum dramatic impact and this comes closer to the spirit of opera than other Baroque oratorios.

Alessandro De Marchi conducted the Academia Montis Regalis and the Chorus Luca Marenzio di Roma. In the 'historically informed' Baroque revival and especially the increased attention given to Vivaldi's varied output, Italian musical forces arrived late on the international stage. This splendid original instrument orchestra, conducted with passion and precision by De Marchi, helps to establish him and this ensemble, joining other figures like Fabio Biondi, as Italians who can make a case for their own music.

The headliner for the evening was the lovely Czech mezzo-soprano Magdalena Kozena, with her honeyed voice and Audrey Hepburn neck. She has been branching out from the Baroque recently and created a significant critical stir with her Cherubino in the Minkowski Le nozze di Figaro at Aix-en-Provence this summer. She possesses a rich, creamy mezzo with all of the agility and technical prowess to assume this commanding role.

The other women all made a significant contribution to the evening and were chosen for the quality and timbre of their voices, matching the roles they sang. In the role of the general of the Assyrian armies, Holoferne, Sara Mingardo sang with a rich contralto. Veronica Cangemi's light soprano was effective in the role of the eunuch Vagaus. The piquancy of a woman's singing a part normally given to a castrato was probably not lost on the audience. In the role of the servant girl to Judith, Abra, Laura Polverelli dispatched her dense coloratura with skill and élan. Patricia Bardon was the odd man out, as it were. Here this dramatic mezzo was out of place with the others. We may look forward to her future Carmen on Chandos but she made rough with the role of the high priest, Ozias.

This opus was a joy to hear and the effective ear for instrumental sound, a Vivaldi trademark, varied the color and glow of the fine melodic lines. The arias for Judith, accompanied by, alternatively, two lutes, two recorders, a solo flute and a mandolin, were particularly enchanting. This flair for orchestration plus charging this with high drama makes this one of Vivaldi's undisputed masterpieces. It is not without reason that the record label, Opus 111, has chosen this work, also with De Marchi and Kozena, and to lead off their announced project to record the entire works of this composer.

The following evening, 1 September, the second offering of the festival was an opera by the 19-year-old Mozart, La Finta Giardiniera. Written at the request of the Bavarian court, it just misses the greatness of his more mature operas. What is always impressive is the easy hand he has with melodic line and creation of dramatic interest. The librettist on this occasion, Giuseppe Petrosellini, is certainly no Da Ponte and this opera buffa, which begins with a murder, is a strange mix of comedy and elements of opera seria.

There was a fine triumvirate of English singers who were at the center of this production. Tenor John Mark Ainsley, a Mozart and baroque specialist, was in the central role of Don Anchise, the narrator. Soprano Rebecca Evans was the murdered lover who finally did not die after all and soprano Lynne Dawson plays the new love interest of the presumed murderer, Count Belfiore. The formidable voice of Lynne Dawson, as the impetuous Arminda, added plenty of salt, pepper and a bit of Tabasco to the comic stew. Rebecca Evans sang with all the requisite grace and intelligence, placing her at the forefront of Mozartian interpreters. It was announced that she was to be the first recipient of the new Hélèna Rochas Prize from the Théàtre du Châtelet for her performance as Nanetta in last season's Falstaff. Baritone Dietrich Henschel also was honored for his title role in Busoni's Docktor Faust at Châtelet.

The Freiburger Barockorchester was lead by the young German conductor, Gottfried von der Goltz, who provided skilled direction to the assembled forces. Also contributing to the success of this evening was the South African tenor Kobie van Rensburg as the innocent-of-murder Belfore and mezzo Monica Groop in the trouser role of Ramiro. Signing on for this project at the last minute, the splendid Swiss baritone, Gilles Cachemaille sang a robust and richly nuanced Nardo.

Mozart's Le nozze di Figaro was at the Montreux Auditorium on 7 September. Not your parents' Figaro but a product of some new thinking about baroque and classical performance practices. The young people who made up this cast were relatively recent graduates of music schools trained in historically informed performance of baroque and classical masterworks. The soprano singing this 'Dove sono' had definitely not been singing 'Vissi d'arte' in some other hall the previous week.

French soprano Véronique Gens, who sang the Countess in this concert version, exemplifies the new style. Coming from a background rooted in the latest baroque performance practice, she has only in the last few years been singing Mozart. However in this short time, she has become one of the most distinguished of interpreters. Playing Countess Almaviva with grace and dignity, the elegant, well-crafted vocal line and purity of voice made her interpretation memorable.

René Jacobs, conducting the excellent Concerto Köln and the RIAS Kammerchor, is also an early music specialist noted for his ability to discover neglected Baroque lyric works and get them staged and recorded. His conducting of this original instrument orchestra had all the necessary freshness and detail to give new life to this much-performed opera. Pietro Spagnoli sang a warm and focused Count and the Italian soprano Patrizia Ciofi was a spry and clear voiced Susanna. Also contributing to a uniformly fine cast was baritone Lorenzo Regazzo as Figaro and mezzo-soprano Monica Bacelli as an engaging Cherubino, with the delightful tenor Peter Hoare as Don Basilio and a strong Bartolo of Antonio Abete. These same forces will be doing six performances of this same opera, fully staged, in the Théàtre des Champs-Elysées in Paris next month. With the youth, talent and wit in this production, it should be well-received.

The final work I saw in Montreux was an exciting performance of Handel's Messiah conducted by Ivor Bolton also with the excellent tenor John Mark Ainsley. There were also chamber concerts featured around the Montreux area and one in particular featured the excellent young Swedish soprano, Camilla Tilling, singing songs of Purcell and Handel at the Chateau de Chillon. She was a widely-acclaimed Susanna in the Aix-en-Provence production of Le nozze di Figaro.

Back in Paris there was a megalomaniac Aïda, featuring 350 extras, 40 dancers, 30 horses and 6 camels, given at the Stade de France to a sold-out house of 78,000. The singers, all unknown, deserve to remain so. Despite the disastrous acoustics, limp and silly dramatics and critical castigation, plans have been laid for more productions next year.

The mood was grim and reserved for the 13 September opening night of the opera season at the Opéra Bastille. There were no high fashion displays and none of the usual press and television cameras in the lobby, but there were security guards checking all bags and purses at the entrance.

Leo Nucci as Rigoletto and Ruth Anne Swenson as Gilda at the Bastille

Photo: Eric Mahoudeau

The Opéra de Paris had decided to open on a low-key note long before the terrible events in New York. What was presented was a 1996 Jérôme Savary production of Rigoletto, previously seen in 1998 and 2000. A good stage design, a solid cast and a conventional staging of this old chestnut was perhaps just the right note to strike for those in the audience hoping for some distraction. A handsome, towering textured wall for all scenes and the theatrical sense of stage director Savary combined to serve the opera well.

Leo Nucci held down the title role for the month and painted a moving portrait of the aggrieved father. He lacks the weight in his lower register to make him a great Verdi baritone, but his intelligent, forceful delivery and theatrical sense made a great impact. Not surprising that he is one of the most recorded of Italian baritones of his generation.

The Gilda of American soprano, Ruth Anne Swenson, was also finely detailed and strongly delivered. Her voice is heavier than I had remembered and she is maybe not still the ideal Gilda, but her emotional portrayal and clear high notes provided many thrilling moments. Her duets with Nucci were well crafted and provided the heat and light necessary for the success of this production. Fabio Satori reminded me sometimes of a caricature of an Italian tenor: short, stout, loud and lacking the ability to act. Although possessing healthy vocal equipment, his metronomic delivery and featureless interpretation left many in the audience cold.

Baritone Willard White played a suave, almost charming Sparafucile. Following closely on his terrifying Grand Inquisitor in the Don Carlo at the festival at Orange last month, this came as something of a surprise. Mezzo Nancy Herrera, a 1996 winner of Placido Domingo's Operalia competition, made a fine impression as Maddalena and showed she was ready for bigger things. She will be singing Carmen in Israel, Florence and Rome in the future. The Monterone of Igo Matioukhine was somewhat under-powered but the other characters, Nigel Smith as Marullo and Mihailo Arsenski as Borsa and Martine Mahé as Giovanna, were well sung. The Israeli conductor, Daniel Oren, with the Opéra orchestra and chorus, made major contributions to the success of the evening.

Maria Guleghina as Odabella and Samuel Ramey as Aattila at the Bastille

Photo: Eric Mahoudeau

Opening on 21 September, the new production of Attila at Opéra Bastille, the first ever for this opera at the Opéra de Paris, was an unqualified failure and there was blame enough all around. Hughes Gall, the Opéra's General Director, was apparently, like me and uncounted others, smitten in his youth with Jeanne Moreau. There was no other explanation for his choice of her, and her theatrical colleague Josée Dayan, to produce their first ever opera on France's top opera stage during the festivities marking the centenary of the death of Giuseppe Verdi. An indifferently staged and dramatically empty production hobbled the evening from the start.

The conductor, Pinchas Steinberg, delivered a low energy and pedestrian interpretation. In the title role, Samuel Ramey sounded tired and not as fresh of voice as his Don Quichotte last season and his sustained notes have a wobble that I had not noticed before. He still has the ability to make some of the finest sounds any basso can make and was the only credible character actor in the cast.

Carlo Guelfi is one of the finest Verdi baritones singing at the moment and I was impressed with his Rigoletto at the festival at Orange this summer. He helped to make this evening more interesting with his finely tuned and strong Ezio - his debut on this stage. But his portrayal suffered, like those of the other performers, from the disinterested staging. It seemed the only concept in operation was the idea of staging a 'retro-production'; re-creating a staging style of earlier times. The singers walked to center stage, stood close to the prompter's box, and sang their arias with antique gestures (hand over heart, arms outstretched at the forte passages, etc.)

It was uncomfortable to listen to tenor Franco Farina as Foresto, a role which seems more prominent when the singer is not good. The Odabella of Maria Guleghina was easily heard throughout the house but with progressively less control of her soprano voice, we were never sure whether she would make her high notes. Unnecessary shouting, histrionics and poor intonation left the listener on edge whenever she was singing. Mihajlo Arsenski as Uldino and Igor Matioukhine as Leone also turned in lackluster performances.

The stage design was supposed to represent an eroded hill but looked more like zebra stripes painted on the floor. The back of the stage was empty except for projected images of forests or deserts that were as unimaginative and low-tech as a high school drama. The costumes had no central theme, resembling early Hollywood impressions of Tartar garb for the choir. Ramey had packed his ponytail, but not his shirt, and seemed to be wearing various colorful capes reminiscent of those worn by Yul Brynner in The King and I.

Samuel Ramey as Attila at the Bastille

Photo: Eric Mahoudeau

Opening on 24 September for three performances was a much-anticipated concert at the Theatre du Chatelet featuring the grand soprano Jessye Norman. Singing one of Schubert's great masterpieces, Die Winterreise, and with the famed abstract stage designer, Robert Wilson providing a stark and magnificent setting, it seemed certain to be one of the most discussed events of the season - if not the decade. Pierre Bergé, the former head of the fashion house Yves Saint Laurent and, during the Mitterand presidency, the chief at the Opéra de Paris, organized this series of concerts and induced his old colleague, Saint Laurent, to do the gown for the great diva. This is the kind of brilliant Parisian self-congratulatory spectacle that garners press attention and fashion conscious audiences.

It was indeed a splendid audience - I sat behind Samuel Ramey - and all the 'beau monde' were present. Out of the corner of my eye, I did catch a glimpse of a quiet, slightly plump young man with wire-rimmed glasses in the highest balcony. Could this have been the ghost of the composer - what's his name? - who did the incidental music for this splendid event?

Part of the original mix for this gala series was the renowned conductor, Myung-Whun Chung, who was to play the piano. Apparently Chung quit this project when the time requirements for the staging of this epic became known. Perhaps he imagined that the rehearsals were for only the music. Maybe he was surprised to learn that the piano was moved off the stage and into the orchestra pit so as not to interfere with the lighting effects and extraordinary tableaus created for the stage and Miss Norman. It was good luck that Jessye Norman's regular accompanist, Mark Markham, was available to fill in downstairs in the pit.

Sadly, for much of the evening this great soprano was operating on auto pilot, bringing neither much interpretation nor expression to this crown jewel of the lieder repertory. At about the song 'Der Post' (No. 15 of 24), she apparently forgot where she was and started finally to sing. It was only then that you recognized the extraordinary interpretive skill and talent that had been hiding somewhere within the fabric of that fabulous deep blue gown.

During the rapturous applause our diva was staggered with the weight of uncounted bouquets of flowers. I glanced at the upper balcony. The young man with wire-rimmed glasses was no longer to be seen.

Jessye Norman, staged by Robert Wilson, sings Winterreise at the Theatre du Chatelet

October

Le nozze di Figaro at the Théâtre des Champs-Elysées: (right to left) Lorenzo Regazzo as Figaro,Patricia Ciofi as Susanna, Veronique Gens as the Countess, and Pietro Spagnoli as the Count

Photo: Alvaro Yanez

The most memorable of the Parisian opera performances for October was at the Théâtre des Champs-Elysées where there was an engaging and graceful staging of Le nozze di Figaro. Featuring virtually the same fine cast as the concert performance last month at the Montreux Festival (see September letter), it was a joyful performance led by René Jacobs and a group of young singers who approached this work with a fresh perspective. Jacobs has become widely known in the past few years with his original instrument revivals of deserving baroque operatic and lyric masterpieces. His performances are stripped of the heavy, inauthentic performance practices attached to them in the 19th and 20th centuries. The carefully detailed and magnificently sung Contess of Veronique Gens made a substantial impression, as did the theatrical - as well as vocal - contributions of the Count, Pietro Spagnoli, the Susanna of Patrizia Ciofi and the splendid Cherubino of Monica Bacelli. With the original instrument orchestra Concerto Köln, this Mozart masterpiece shone as never before in my memory.

It received a sophisticated and lively staging from a former general director of the Opéra de Paris, Jean-Louis Martinoty. His collaboration with his friend and a past director of the Louvre, Pierre Rosenberg, resulted in backdrops filled with an array of period masterpieces of artists like Watteau, Chardin, Boucher and David. The costumes of Sylvie de Segonzac, inspired by Watteau, were lush and lovely.

At the Bastille, the Opéra de Paris opened their season just two days after the New York attacks with an unevenly cast Rigoletto and then stumbled badly with a misconceived production of Verdi's Attila. Their production at the Palais Garnier of contemporary German composer Helmut Lachenmann's The Little Match Girl sent many in the audience heading for the exits before the end.

However they finally found their sea legs when they pulled a 1996 production of Benjamin Britten's Billy Budd out of their closet and presented it with a seamless crew. Designed by Francesca Zambello (and voted best production of that year by the Paris music critics), it showed that the presentation of world-class opera was, finally, not all that impossible.

The Zambello stage design is impressive. Imagine Géricault's Raft of the Medusa redesigned by IKEA and expanded to fill the big Bastille stage. With the powerful music of one of the 20th century's greatest opera composers, strong stage action and the coup de théâtre of the hanging of the hapless hero at the end, it makes for a splendid evening at the opera. Not ignoring the homoerotic elements of the story, Zambello has the characters move on the stage with dramatic cohesion and shows this opera to be the outstanding theater piece that it is. Stir into this mix the splendid Billy of the handsome Danish baritone, Bo Skovhus, recently applauded in Vienna for this role, along with the radiantly sung Captain Vere of Philip Langridge and success is assured.

Gary Bertini, in the pit, emphasized the angular modernity of this work and gave it fresh significance. The influence of Britten's contemporaries (even, at one point, Edgard Varèse) as well as the unmistakable, individual style of this composer combine in demonstrating that this is, arguably, his best works after Peter Grimes.

The Israeli bass-baritone Gidon Saks, as Claggart, had all the dangerous menace needed play this pivotal character. In 1996 he was Mr Flint in the first staging and well deserved his promotion to Master at Arms. Toby Spense, a young ENO regular, made a fine debut at the Opéra as the Novice. His appealing theatrical sense and a generous light tenor should serve him well in his career. The remainder of this large, exclusively male cast, as well as the impressive Opéra chorus, all contributed to a virtually faultless performance.

Ravel's L'Enfant et les sortileges at the Palais Garnier

Photo: Eric Mahoudeau.

Another successful revival for the Opéra at the end of the month was the double bill of Alexander von Zemlinsky's Der Zwerg (The Dwarf) and Ravel's classic, L'Enfant et les sortilèges (The Child and the Magic). The Opéra's music director, James Conlon, conducted these two 20th century operatic jewels. The usual high performance level he inspires was present on the opening night's performance at the Palais Garnier. Sharing a common theme of children who break toys, they do not make a perfect musical marriage. The first is a somber reflection on self-perception and the other is a delightful child's fantasy. But with the profound appreciation of these scores by Conlon and the support of a fine cast a convincing argument was made for this particular association. The American tenor Robert Brubaker gave a particularly fine performance of the title character in Der Zwerg. Splendid performances by two fine sopranos, Désirée Rancatore as the Nightingale and the Princess and Gaële Le Roi as the Child brought energy and light to the Ravel. Playing the role of the mother was the impeccable mezzo, Dame Felicity Palmer. The smart and engaging stage design and direction were by Richard Jones and Antony McDonald.

André-Modeste Grétry's La Jeunesse de Pierre le Grand, le Tsar ouvrier, at the Théâtre Impéral de Compiègne: Christophe Einhorn as Pierre le Grand.

Photo: Claude Weber

An opera not performed since its initial performances in Paris in the 1790-91 season, André-Modeste Grétry's La Jeunesse de Pierre le Grand, le Tsar ouvrier, was given two performances at the Théâtre Impéral de Compiègne. This production was a clear labor of love for the founder of this series, its metteur en scène, the director of the theater and the musical historian who happen to be all the same person: Pierre Jourdan. Now celebrating 10 years at the helm in Compiègne, he has specialized is reviving, staging (and often recording) seldom-performed operas while preserving a bit of the musical patrimony of France. Compiègne is just one hour north of Paris on the autoroute A1 and uses a handsome theater built by Napoleon III adjacent to his palace there.

This particular opus, not performed since its initial performances in 1790-91, is an example of the talented composing skills of Grétry, famous throughout Europe during this time. The protagonist of this opera, translated as 'The Youth of Peter the Great, the Worker Czar', was one of the great figures of world history, Czar of Russia until his death in 1725. In the post-Gluck era, the public demanded fewer plots about gods and mythology and more plots related to daily life. In this particular period, only months after the fall of the Bastille but before the beheading of Louis VXI, a composer had to choose his libretto carefully. This opera tells a story of a young monarch who lived and worked incognito with the working classes, while he learned useful things like shipbuilding, and fell in love with and married a commoner. At the time this would have been a still-familiar legend - however differing from actual historical fact - that would have resonated with audiences.

It is a short work, played without intermission, which together with spoken dialogue took less than two hours to perform. Pierre Jourdan also provided new spoken dialogue that helped to place this work properly in the setting of 'the best of times, the worst of times'. A 10-member orchestra supported a cast of young and enthusiastic singers and the staging was simple but appealing, serving to dramatize the story. Grétry's music, although wedded to the classical style of Mozart and Haydn, has a distinctive stamp of its own and was particularly impressive in the ensemble and choral passages.

The presence of four cameras in the hall and a note in the program announced that this work was being recorded for eventual release on DVD by the Cypres label. Last year's effort, Auber's Les Diamtants de la Couronne, is now available on CD from Mandala. More information about the programs and activities of this theater is at www.theatre-imperial.com.

November

Kaija Saariaho's L'Amour de loin at at the Théàtre du Châtelet with Dawn Upshaw as Clemence and Gerald Finley as Jaufre Rudel

Photos: Marie-Noëlle Robert, Théâtre du Châtelet

Critics who argue that opera is in decline should have been in Paris in November. Two important new operas received dramatic and engaging productions at the Théàtre du Châtelet and made a strong case for the general health of the art. Another two masterpieces from earlier in the 20th Century, Wozzeck and The Rake's Progress, received solid performances to reaffirm their important place in the new operatic repertory. A La bohème at the Opéra de Paris with megastars Roberto Alagna and Angela Gheorghiu, normally hogging critical attention, received hardly a mention in the local press.

Three Sisters is the first opera of one of the more renowned of the current crop of composers, Peter Eötvös. Born in 1944 in Transylvania, he has written a remarkable and assured work which was acclaimed - and recorded - when it was first performed at the Opéra de Lyon in 1998. Since its premiere it has been performed in Düsseldorf, Utrecht, Hamburg, Budapest and Zagreb and is already scheduled for further performances in Brussels, Lyon and Vienna.

Eötvös has worked with both Stockhausen and Boulez. There is nothing neo-romantic to be found in this opera. He does however bring a light and accessable touch to the edgy late century musical idiom and his works are more tuneful and less dissonant than those of his older colleagues. This work features a bounty of counter-tenors and reflects the current supply of this formerly rare commodity. Based on the Anton Chekhov play, the three sisters, Irina, Olga and Masha were played by Oleg Riabets, Alain Aubin and Bejun Mehta respectively. Yet another counter-tenor, Gary Boyce sang the role of Natasha, the controlling sister-in-law.

Peter Eötvös's Three Sisters at the Théàtre du Châtelet with Oleg Riabets as Irina, Bejun Mehta as Macha and Alain Aubin as Olga

Photo: Marie-Noëlle Robert, Théâtre du Châtelet

The sober, almost minimal production, white predominating, was by Ushio Aagatsu with striking costumes by Sayoko Yamaguchi. This was the same team that created the first performances in Lyon. Inspired by traditional Japanese theater, the stage movements were stylized and carefully coordinated with the music. The orchestra was divided into two parts, with Kent Nagano conducting an 18-member group in the pit and the composer conducting the larger part of the Orchestre Philharmonique de Radio France placed behind the performers and hid by a scrim. The Chekhov play is reordered into four parts: a prologue and three parts which feature each sister and their trials and dreams, in turn.

While this new structure allowed for a deliberate look at each of the sisters, it interrupted the dramatic flow of the play and added an unnecessary static element to a drama already made abstract by the stage direction. Yet the sure musical touch of this composer has produced a work of importance. The Prologue, where the three sisters sing of their hopes for the future, is filled with graceful and poignant music and is splendidly sung. The energy and talent of Gary Boyce as Natasha gave added dimension to the dramatic setting. Mention also should be made of the rich baritone of Albert Schagidullin in the important role of Andrei.

Dawn Upshaw as Clemence in L'Amour de loin

Photos: Marie-Noëlle Robert, Théâtre du Châtelet

The first opera of another major contemporary composer, Kaija Saariaho, was on stage at Châtelet at the end of the month. Also with Kent Nagano in the pit, it was the first French performance of L'Amour de loin (The Love from Afar). Critically acclaimed at its first performance at the Salzburg Festival in August 2000, it is also scheduled for the Santa Fe Opera Festival. Saariaho, a Finnish composer currently living in Paris, is another of a remarkable group of composers from this small country to achieve considerable notice internationally. Her opera is a passionate and delicate paean to love with exotic harmonies and magical instrumental effects. It reminded me more of the Impressionist composers rather than compositions of her mentor, Pierre Boulez. Telling a story of a troubadour in love with a Countess of Tripoli, it is filled with suggestions of Arabic musical forms.

Written by the composer specifically for the remarkable soprano Dawn Upshaw as the Countess of Tripoli, Clemence, it also features one of the most important baritones on the opera stages today, Gerald Finley, as the Medieval troubadour Jaufré Rudel. The third member of the cast is mezzo Lilli Paasikivi as a pilgrim who acts as the go-between to unite the lovers. The chamber choir Accentus joined the Orchestre de Paris, discerningly conducted by Nagano. Singing from the highest balconies, they added an often unearthly and affecting accompaniment to the stage action.

This opera is limited at the outset by a story with very little action and much reflective musical thought. Her talent as a composer is clear and one can anticipate later efforts that hopefully will involve more complex and dynamic musical expressions than the languid and ultimately static nature of this work.

Wozzeck at the Bastille

Photo: Eric Mahoudeau.

Wozzeck stands aside the lyric stage of the 20th Century like a colossus. Its daring innovations, multi-layered story and brilliant musical score established Berg immediately as a world musical figure of the first rank. Passionate and committed performances like the recent revival at the Opéra de Paris can only cement its place as one of the towering musical achievements of the past 100 years. With the Opéra's Musical Director James Conlon in the pit the full measure of this score can be taken. His orchestra has never sounded better, responding to the challenges inherent in this complex work with committed and impeccable playing. Years of orchestra building at the have fashioned a band the equal of any in the world.

An impressive cast was available for this revival from the 1999 season. Swedish Soprano Katarina Dalayman was stunning as Marie. Franz Hawlata was a fine Wozzeck and special mention must be made of Ulrich Hielscher as the Doktor who warm baritone was outstanding. Kenneth Reigel repeated his role as the exquisitely irritating Hauptmann. The set, a tenement-like military barracks, was effective as was the stage action, both originated by Pierre Strosser.

Two important recitals this month were anticipated, only one of which actually got to the stage. The recital on 24 November by Olga Borodina at Theatre du Châtelet was canceled by the artist for reasons of health. Her recital in London a few days before found her not at her top form and her subsequent performances as Eboli in Don Carlo at the Metropolitan Opera were also canceled. A recital on November 7 in the same theater by the mezzo-soprano Waltraud Meier was a mixed pleasure. Singing a program of Brahms, Mahler's Rückert-Lieder, and Schubert, her habitual accuracy and vocal strength were present, but little of the charm or sensitive interpretation necessary to bring these songs alive.

At the Théàtre des Champs-Elysées, following last month's magic Le nozze di Figaro conducted by René Jacobs, a crisp and delicious Rake's Progress of Stravinsky featured the young and talented conductor, Jonathan Darlington. Stage designer André Engel placed the action in New York and the young cast played their roles with skill and enthusiasm. Singing was also of the highest order with special notice to a fine young American tenor, Thomas Randle as Tom Rakewell. David Pittsinger was a smarmy and mellifluous Nick Shadow. Tenor Peter Hoare, the Don Basilio in the Figaro last month, almost stole the show with his radiant Sellem and veteran contralto Gwendolyn Killebrew showed she still had sex appeal in the role of Mother Goose.

La bohème at the Bastille with Roberto Alagna as Rodolpho, Ludovic Tezier as Marcello, and Angela Gheorghiu as Mimi

Photo: Eric Mahoudeau

Even with the downturn in tourism, there were no tickets at the box office for some weeks before the La bohème performances at the Opéra Bastille featuring the hottest young couple in the opera business, Roberto Alagna and Angela Gheorghiu. Just finishing a sold-out run in New York, they were appearing in Paris at the same time as the release in movie theaters in France of their new film, Tosca, directed by Benoît Jacquot. At opening night, both appeared tentative during their first act duet, but soon began to demonstrate why they are so much in demand. Gheorghiu seemed, after Act 1, comfortable with Mimi and sang with free musicality. Alagna's Rudolpho was also well sung but seemed sometimes forced in the upper ranges. Significantly contributing to a fine performance were the exceptional Colline of Erwin Schrott and two fine baritones, Ludovic Tezier as Marcello and Stéphane Degout as Schaunard. The traditional sets and stage business were by veteran director Jonathan Miller.

December

Konstantin Plozhnikov as the clerk in Khovanschina at Opera Bastille

Photo credit: Eric Mahoudeau

Much press attention was given to the December announcement that Gérard Mortier would be the new director of the Opéra de Paris in 2004. He will, as the designated director, be working alongside Hugues Gall in making the advance planning and casting decisions for the season 2004-05 and beyond. After building the Théâtre de la Monnaie in Brussels into a major international opera house, he brought fresh air - and controversy - to the Salzburg Festival during his directorship there. His rapport with the younger generation of conductors like Pappano, Minkowski, Salonen, his interest in contemporary works and adventurous stage direction should enliven the Paris opera scene.

There was also news that James Conlon, the Chief Conductor of the Opéra de Paris, will be receiving the Legion d'honneur. This honor, the highest in France, has been given previously to only three American conductors: Lorin Maazel, Leonard Bernstein, and Leopold Stokowski. Praised by audiences and critics alike, he has recently announced he is leaving his post at the end of the 2004 season. We can assume Mortier will have a hand in the selection of the new conductor.

The happiest place this holiday season was at the Théâtre du Châtelet for the reprise of their widely praised production of Jacques Offenbach's La Belle Hélène - an evening of high merriment combined with sophisticated artistry. Described by the Penguin Opera Guide as 'deliciously immortal' this operetta is a perfectly constructed, merry farce that is given a clever and brilliant production.

Singing the role of Hélène, the most beautiful woman in the world, is the splendid Swedish soprano, Katarina Karnéus. She had the almost impossible job of taking over a role so masterfully played last year by Dame Felicity Lott. She did not try to match the suavity and grace of her predecessor but instead emphasized her pulsating youth. On the first night, her Act I aria 'Amours divins' was a bit tentative but she soon fell into character and joined in the infectious fun on stage.

Conductor Marc Minkowski, with his own band, Les Musiciens du Louvre, in the pit, treated this work with all due care and devotion - as if it were Mozart. His talents as a conductor were never in doubt and his evident pleasure in bringing this particular piece to the stage engaged the entire troupe. He has often worked with the stage director, Laurent Pelly, and both have created some memorable performances at the Opéra as well as at the festivals of Aix-en-Provence and Salzburg. Pelly's clever and fast-paced stage business resonates perfectly with the irreverent wit of the composer and his masterful librettists, Henri Meilhac and Ludovic Halévy. The evening was further distinguished by high-energy, inventive and whimsical ballet sequences (one with nuzzling, dancing sheep) by Laura Scozzi.

Except for the title role, all the other cast members were French and testify to the growing importance of their conservatory system in producing fine talent. These young singers have come up from the ranks of Baroque performance for the most part and deliver the music with clarity and precision. Tenor Yann Beuron was engaging in the role of Paris and the indefatigable tenor Michel Sénéchal - in his sixth decade on stage - was perfect as Ménélas, the old husband and King of Sparta.

In the role of the grand augur Calchas, François Le Roux wielded his powerful baritone in a futile effort to maintain a level of sanity on stage. Mezzo Stéphanie d'Oustrac was convincing as the over-heated nephew, Oreste and Gilles Ragon, Alain Gabriel and Laurent Alvaro merrily camped it up as the three kings, Achille, Ajax I and Ajax II. The Greek chorus, here the Choeur des Musiciens du Louvre, were dressed-down tourists following around their guide who held high a sign reading Odyssey Tours. Last year's performances are now available on DVD with essentially the same cast and with Dame Felicity.

Anne Sofie von Otter as Anna I in Kurt Weill's Die sieben Todsünden at the Palais Garnier

Photos Eric Mahoudeau Service de presse / Bastille

Little noticed by the music public was a remarkable triple bill at the Opéra-Garnier that combined opera and ballet and was a tribute to the writer Boris Kochno, who either suggested or wrote the stories of all three works. It was indeed also a reflection of the remarkable vitality of the music scene in Paris in the 1920s and 30s.

Conducted tautly by Alexander Polianichko, it started with Kurt Weill's Die sieben Todsünden (Seven Deadly Sins) with Anne Sofie von Otter impressive in the role debuted by Lotte Leyna. A 1933 ballet with song, it has a libretto by Bertolt Brecht, which was taken from an idea of Kochno. The same team that did the Belle Helene at Chatelet, Laurent Pelly and Laura Scozzi, created the stage design and choreography and it featured the same smart fun and garish colors.

Die sieben Todsünden: Anne Sofie von Otter as Anna I, with the family ( from left to right,) Nicholas Cavallier (in drag), Ian Caley, Stefan Margita and Nigel Smith

Photos Eric Mahoudeau Service de presse / Bastille

The ballet in the middle was Sergei Prokofiev's The Prodigal Son that was graced by reproductions of the original costumes and stage scenery by Georges Rouault. It is early example of George Balanchine's choreographic genius and was danced stunningly by Jérémie Bélingard in the title role.

The final work was a conventionally staged performance of Igor Stravinsky's one act opera Mavra. This 30-minute opus was well sung by Olga Gouriakova and Stefan Margita as the lovers with Irina Tchistiakova as the mother. Boris Kochno's libretto (after a story of Pushkin) was written when he was only 18. It was a rare opportunity to see this delightful work.

Die sieben Todsünden: from left to right, ballerina Elizabeth Maurin as Anna II with Nicholas Cavallier (in drag), Ian Caley, Stefan Margita and Nigel Smith as the family

Photos Eric Mahoudeau Service de presse / Bastille

One of the least attractive characters in all of opera is Prince Andrei in Modest Mussorgsky's Khovanschina. This is a character clearly sexually obsessive-compulsive but without any of the charm and complexity of Don Giovanni. You get some idea of the wealth of mostly-Russian talent singing this opera at the Bastille that the tenor in this role is Vladimir Galusin. One of the great dramatic tenors on stage today, in this thankless role he shines as much as possible and his full-throttle voice is really something to be experienced.

Set during the time when Peter the Great was still in his minority, the winds of change were already blowing through Russia. Great princes clashed as the Western-looking forces struggled with the religious and political conservatives. Mussorgsky, who died with this opera only finished in a piano score, seemed to take no position in the conflict and both sides were portrayed with understanding. Rimsky-Korsakov scored the opera for performance but made massive cuts. The current production uses the now standard 1960 Shostakovich orchestration that restored the opera to its full grandeur.

Larissa Diadkova sings Marfa, the cast aside woman who, quite incredibly, loves Andrei to the end. If the name sounds familiar, she is the fabulous mezzo who sings with Renée Fleming the Letter Scene from Eugene Onegin on the 'Great Opera Scenes' disk conducted by Solti. She is listed in the program as a contralto, and it is certain that this role exercises the lower register of any mezzo. It is a pivotal role in this opera and it was impressively performed. The wonderful bass Vladimir Ognovenko sang Prince Ivan Khovansky. He is an exceptional singing actor and gave new dimension to his role. The audience applauded most for the role of Prince Golitsin and this was sung by the fine American tenor Robert Brubaker. He impressed greatly in the title role of Zemlinsky's Der Zwerg last month and his intelligent musicality is always especially welcome.

From left to right: Tatiana Pavlovskaya as Emma, Larissa Diadkova as Marfa and Vladimir Galusin as Prince Andrei Khovansky in Khovanschina at the Opera Bastille

Photo credit: Eric Mahoudeau

The powerful bass Anatoli Kotscherga amply handled the role that Feodor Chaliapin loved to sing - Dosifei. Soprano Tatiana Pavlovskaya made an impressive debut at the Paris Opera in the role of Emma. Her large and luscious voice easily filled the hall and she made much of this small role. The subsidiary roles were all well sung and the choir warmed up after the first act and sang their important parts with conviction.

This is a sweeping - some might say sprawling - epic of an opera and its five acts make it Wagnerian in length. Only a committed conductor like Conlon could keep the music from flagging and his obvious belief in the score and its beauty won many converts. Andrei Serban's décor was minimal and featured lots of giant angles on stage. Working with set and costumes designer Richard Hudson, he created handsome stage pictures and effective drama on the often-crowded stage. The large variety of costumes for this production was exceptionally impressive.

The ballet sequence, to the well-known 'Dance of the Persian Slaves', was a confused pastiche of clichés to such an extent that it seemed to be almost improvised by the dancers. Laurence Fanon, the responsible person, failed to meet even the lowered expectations of opera ballet. A company with well over 300 years of experience in ballet performance should be doing a better job. Ballet aside, the combination of exceptional casting and passionate conducting made this opera a significant and welcomed addition to the repertory this season.

Mentioned in the French press was the success of French soprano Annick Massis who had the starring role in Maria di Rohan of Donizetti at the Grand Théâtre in Geneva in December. In another of the great bel canto roles, Natalie Dessay will make her debut in January in Lyon in Lucie de Lammermoor (the French language version by the composer.) Cecilia Bartoli was at the Théâtre des Champs-Elysées and elsewhere around France in December in a tour associated with the release of her album of Gluck arias.

See other letters in the Archives.