Carmen, Yuja Wang, Leonore Piano Trio, Tristan und Isolde – A Review

Georges Bizet died at the age of 36, falsely believing that “Carmen” was a failure. Just months after its premiere, initially criticized for being immoral, overly long, and shapeless, the sentiment changed dramatically, and history did the rest. A standout at the opening weekend of the Edinburgh International Festival was a staging by the Opéra-Comique of Paris, where “Carmen” first graced the stage in 1875. The production boasted French authenticity, linguistic fluency, and wit.

This was the third “Carmen” of the year for me. Despite initially muted excitement at the prospect of revisiting the Habanera, each rendition swapped hesitancy for surging adrenaline and musical excellence. If only Bizet had known the eventual success of his work. His story shares tragic similarities with that of Van Gogh.

Travelling light with a simple set and few props, this version—conducted by Louis Langrée, directed by Andreas Homoki, and designed by Paul Zoller—spans centuries, incorporating elements from the 1875 Paris premiere through to a generic present. Crimson and gold drapes framing a false proscenium arch are a constant. Meta-theatre tricks like follow spots and house lights are used sparingly. Costumes range from top hats and bustles to wartime drab and modern jeans and T-shirts. The final act takes the audience to a TV set, watching the toreador’s grand arrival, complete with banderilleros and cuadrilla, making a subtle point about timelessness. “Carmen” raises significant issues around male violence without needing further elaboration.

French mezzo-soprano Gaëlle Arquez captured sexy grace and vocal flexibility without relying on typical gestures like hip flicks or pouts. She played it cool, even when she told Don José, portrayed by Albanian tenor Saimir Pirgu, she’d dance for him—only to begin a reverse striptease. Pirgu, with a bright and powerful voice, convincingly depicted his sexual humiliation. French bass-baritone Jean-Fernand Setti’s Escamillo had swagger aplenty, fitting given his character’s extravagant attire.

The ensemble cast was well-chosen, and the French chamber choir Accentus, along with the children’s choir La Maîtrise Populaire de l’Opéra-Comique, performed admirably. In a nod to the historical alliance, the production featured the Scottish Chamber Orchestra, which played with remarkable flexibility, embodying the sensual nuances of Bizet’s score. Langrée conducted with a blend of relaxed energy, louche charm, and explosive passion.

Every seat at Usher Hall was claimed for Yuja Wang’s solo recital. An extraordinary series of eight encores followed a concert that showcased her magnetic and inscrutable charm. Wang’s program included Chopin’s Four Ballades, Shostakovich and Barber’s preludes and fugues, and Samuel Barber’s ferocious Piano Sonata Op. 26. Wang’s choices interwove internally, notably through percussive fugues. Her performance drew shouts of “I love you” from the audience.

At Queen’s Hall, the Leonore Piano Trio offered a single encore by Haydn, matching Wang’s thrill in its own right. Their program included Clara Schumann’s youthful Piano Trio, Op. 17, and Helen Grime’s inventive “The Brook Sings Loud,” capped by Dvořák’s Piano Trio No. 3 in F minor, Op. 65. Cellist Gemma Rosefield’s insightful explanations helped the audience navigate Grime’s atmospheric work, with nods to Highland bagpipes.

Glyndebourne’s classic staging of Wagner’s “Tristan und Isolde,” revived for the fourth time since its 2003 debut under Nikolaus Lehnhoff, remains compelling. Concentric circles shift from grey to intense blue, serving as boat, omphalos, and camera lens. The fated lovers stand separated yet united by Wagner’s powerful score. Miina-Liisa Värelä’s Isolde melts into the great beyond during her climactic Liebestod.

The London Philharmonic Orchestra played with detailed intensity under Robin Ticciati, marking his 10th year as Glyndebourne’s music director. Highlights included a poignant cor anglais solo as Tristan awaits Isolde in Act 3. Stuart Skelton, making his house debut as Tristan, maintained his status as a top performer. However, the set’s challenges led to injuries, including one sustained by Karen Cargill. Brangäne was subsequently sung by Marlene Lichtenberg. Shenyang and Franz-Josef Selig also excelled in their roles.

Ticciati’s direction, from the prelude to the final bar, was meticulously judged, marking his evolution from a prodigious talent to a mature, serious conductor. Up next is “Parsifal,” leaving much to ponder about how Wagner’s holy grail fest will suit Glyndebourne’s renowned picnickers.

★★★★ Carmen
★★★★ Yuja Wang
★★★★ Leonore Piano Trio
★★★★ Tristan und Isolde

Tristan und Isolde runs at Glyndebourne, Lewes, East Sussex, until August 25.

Source: The Guardian