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      Review: Kaija Saariaho’s ‘Adriana Mater,’ After Her Death

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      The conductor Esa-Pekka Salonen and the director Peter Sellars, two Saariaho collaborators, brought “Adriana Mater” to the San Francisco Symphony.The composer Kaija Saariaho, who died earlier this month at 70, spent much of her career expecting not to write an opera. She saw it as a dusty art form, she once said, and couldn’t picture translating her sound world of slow, subtle harmonic changes into melodies and arias.A pair of directors changed her mind. In the early 1990s she saw Patrice Chéreau’s staging of “Wozzeck” in Paris and Peter Sellars’s production of “Saint François d’Assise” at the Salzburg Festival — experiences that, she later said, “opened my mind to what can be done by telling a story with music.”Saariaho’s first opera, “L’Amour de Loin,” an ethereal allegory of medieval love, premiered at Salzburg in 2000 and quickly became her most famous work. Even so, she didn’t plan to compose another.But some nudges, and a commission from the Paris Opera, led to “Adriana Mater” in 2006. Less than a week after Saariaho’s death, that sophomore outing was revived at the San Francisco Symphony — by the conductor Esa-Pekka Salonen and Sellars, two of her longtime collaborators, who first brought the work to life.The long-planned event was a ready-made memorial for news so fresh it had to be acknowledged with a program insert. On that succinct sheet of paper, Salonen touchingly remarked, “This is the first time I’ll conduct the music without my friend.” And Sellars described the performance as “the best way we know to remember her, call her back and let her go again.”“Adriana Mater” is starkly different from “L’Amour”: contemporary in its subject matter and more explicitly dramatic. But then, all of Saariaho’s operas are distinct, even if they add up to stars in the same constellation.The composer who was reluctant to write for theater would go on to create the richly nuanced monodrama “Émilie,” premiered by the soprano Karita Mattila in 2010; the Noh-inspired “Only the Sound Remains,” staged in 2016; and “Innocence,” first unveiled at the Aix-en-Provence Festival in 2021, a work powerfully wise in its ideas and execution, a smoothly cohesive collage of styles that now seems like something of a career capstone, if not her masterpiece.History will decide what music of Saariaho’s will survive. It’s hard, however, to imagine the operas fading from the repertoire. They represent the art form at its best: elevated expression that, through storytelling, constantly revisits themes that are timeless and universal. For all their complexity, they are about how we love, how we hurt, how we die. Beyond any surface-level drama, like a school shooting in “Innocence” or war in “Adriana Mater,” these works are utterly relevant — not only in how they pertain to our moment, but also in how they capture the root of that word, as the author Garth Greenwell has observed of the French “relever,” to raise back up.The San Francisco Symphony’s production was staged by Peter Sellars and conducted by Esa-Pekka Salonen, both of whom were involved with the opera’s premiere in 2006.Brittany Hosea-SmallThat much was clear during the San Francisco Symphony’s performances of “Adriana Mater,” which concluded on Sunday at Davies Symphony Hall and were recorded for later release. Amin Maalouf, the librettist for all of Saariaho’s operas until “Innocence,” has said that the work recalls conflict in the Balkans at the end of the 20th century. But its themes resonate independent of that reference point. It is fundamentally about the uncertainty of motherhood, and about compassion in the face of brutality — about seeking, as one character says, salvation over vengeance.“Adriana Mater” is an opera of difficult questions and emotions but straightforward plot. Adriana (the mezzo-soprano Fleur Barron, a mighty presence in a small frame) rebuffs Tsargo, a drunk young man, with a mixture of disgust and pity. But later, Tsargo — sung by the baritone Christopher Purves with Alberich-like bite — returns during wartime to rape her, empowered by circumstance and an assault rifle. Adriana becomes pregnant, and despite warnings from her sister, Refka (the alluringly lyrical soprano Axelle Fanyo), chooses to have the baby. “It isn’t his child,” Adriana says. “It’s mine.”But she does worry: Will the child be more like Tsargo or like her? Cain or Abel? Act II, set 17 years later, puts that uncertainty to the test when her son, Yonas (an agile, heldentenor-like Nicholas Phan) learns his father’s identity and sets out to kill him. But when he sees Tsargo, blind and broken, he cannot bring himself to do it. Yonas feels ashamed for not carrying out the murder, but his mother is relieved. He is truly her son.Saariaho’s music is rarely representational. Adriana’s offstage rape is punctuated with violent chords, and drilling percussion evokes the assault of war, but otherwise the writing favors atmosphere and abstraction. In a way that prefigures the grand tapestry of “Innocence,” she attaches specific sounds to each character: turbulent harmony for Adriana, long melodic lines for Refka, darkly shadowed low strings for Tsargo, frantic lightness for Yonas. Too often in contemporary music, conductors seem merely to be keeping time; but all this was handled deftly by Salonen, who looked as animated and assured as if he were conducting Beethoven.Sellars’s concert-hall staging was minimal, as was his original production at the Paris Opera. Here, the action unfolded on platforms of various heights that kept the singers, looking contemporary, if not specifically of any one place, in Camille Assaf’s costumes, almost always isolated. At the start, Adriana and Tsargo’s little stages, under James F. Ingalls’s lighting, were colored yellow and blue, as if to suggest that the story took place in Ukraine.But any comparison to the current war didn’t linger. The colors changed constantly, mercurial and expressive, as the action unfolded. Neither Sellars nor the opera, after all, needed an updated story to make it more recognizable. That’s already in the score, in the way Saariaho’s delicately consoling music stares down the worst of the world and says: The only way forward is grace.‘Adriana Mater’Performed on Sunday at Davies Symphony Hall in San Francisco. More

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      Opera About Refugee Children to Premiere at Spoleto Festival

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      “Ruinous Gods,” an exploration of the trauma of mass displacement, will be staged in Charleston, S.C., next year.A chamber opera about refugee children and the trauma of mass displacement will premiere next year at Spoleto Festival USA, the organization in Charleston, S.C., announced on Saturday.That work, “Ruinous Gods,” tells the story of a mother and her 12-year-old daughter, who are forced to flee their home. The opera evokes the crises over refugee families and migrant children that have played out in recent years in the United States, Europe, the Middle East and elsewhere.The violinist and composer Layale Chaker, who was born in France and raised in Lebanon, is writing the music, to a libretto by Lisa Schlesinger, a playwright, activist and educator from New York.“‘Ruinous Gods’ speaks to the maddening political morass that drags down the world’s most vulnerable,” said Mena Mark Hanna, Spoleto’s general director. “Reverberations of this piece shook me to my core, especially as a father.”The festival, known for bringing artists together across disciplines and commissioning and staging innovative works, has sought in recent years to more directly address contemporary social problems.Last year, Spoleto gave the premiere of “Omar,” an opera by Rhiannon Giddens and Michael Abels based on the autobiography of Omar Ibn Said, a Muslim man from West Africa who was enslaved and transported to Charleston in 1807. The work went on to win the Pulitzer Prize for music.“Ruinous Gods” focuses on a condition known as resignation syndrome, in which children living in a state of limbo fall into comalike states. It is loosely based on the Greek story of Persephone and Demeter.Schlesinger said she began thinking about the story as a rush of migrants, many from Syria, entered Europe in 2015. She was moved by reports about resignation syndrome affecting refugee children in Sweden in 2017.“I could feel these children inside my body, like the way that they felt like they needed to fall asleep in order to be in the world,” she said. “That was really the genesis for this piece.”Chaker said that her desire for the work was to prompt fresh conversations about how governments and societies treat migrant families.“I hope that this provides us with the means to interrogate our legacy, the state of the world as we are leaving to our children,” she said. “How can we do better and how can we ensure we leave the world kinder and more just to them, for them to be able to carry on?” More

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      It’s the End of an Era at the Metropolitan Opera

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      As the 2022-23 season ends, the country’s largest performing arts institution looks ahead to a future of fewer titles.The Metropolitan Opera’s 2022-23 season may well have been the end of an era.Since September, the Met, which closes for the summer on Saturday, has put on 22 titles — 23 if you count both stagings of Mozart’s “Magic Flute,” one complete in German and one an English-language holiday abridgment. As a repertory house and the country’s largest performing arts organization, it juggles multiple works at a time. On some weekends, it’s been possible to see four different operas in 48 hours.But is there enough of an audience to fill so many performances in a 4,000-seat theater?Ticket sales have been robust for some new productions, even of contemporary works. But revivals, less obviously newsworthy and less widely promoted, are no longer sure things — especially slightly off-the-beaten-path stuff like Mozart’s “Idomeneo” or Verdi’s “Don Carlo.”In an attempt to make ends meet, the Met has raided its endowment and plans to put on 10 percent fewer performances next season, which will feature just 18 staged operas (six of them written in the past 30 years). The days of being America’s grand repertory company, of 20-plus titles a year, could be slowly entering the rearview mirror.So it was fitting that, last month, the Met said farewell to one of the shows that typified the era that’s ending: its “Aida” from the 1980s. The production was typical Met: hardly cheap but sturdy and flexible, into which you could toss singers with relatively little rehearsal. The company’s model has depended on a core of stagings of the standards like this — ones which could be mounted, and sell well, year after year.If there’s less of a year-after-year opera audience, though, the only solution may be to do less.It’s melancholy to look back on the past season and realize that my two favorite performances were the kind of thing that might go by the wayside in the Met to come. They were revivals of works by no means obscure, but not nearly as famous as, say, “Carmen”: Donizetti’s gentle romantic comedy “L’Elisir d’Amore” and Shostakovich’s ferocious satire-tragedy “Lady Macbeth of Mtsensk.”From front left, Javier Camarena, Golda Schultz and Davide Luciano in Donizetti’s “L’Elisir d’Amore.”Marty Sohl/Metropolitan OperaThis has been the glory of the Met: the love, care, craft and experience that go into works as different as these two — starkly contrasting titles, both presented at the highest level. In “Elisir,” the tenor Javier Camarena and the soprano Golda Schultz were all tenderness, but were lit, as if from within, with a lively spirit by the conductor Michele Gamba, making his company debut.The conductor of “Lady Macbeth,” Keri-Lynn Wilson, was also making her debut, and showed mastery of Shostakovich’s score, which is in a savage, if often eerily beautiful, mode that would have stunned Donizetti.Neither run was nearly a sellout, but the season would been immeasurably more barren without them.The new vision that the company will be pursuing next season has a silver lining in its doubling down on contemporary opera. Sales for recent works have been pretty robust, though it’s unclear whether they’ve done well because people like them or because they’ve tended to be among the splashy, expensively publicized new productions rather than the perennial chestnuts.But even if successful at the box office, the contemporary pieces this season have not been highlights. This spring, “Champion,” a boxing melodrama by Terence Blanchard — who also composed “Fire Shut Up in My Bones,” which opened the Met’s 2021-22 season — was musically stilted and dramatically stodgy. Last fall, Kevin Puts’s score for “The Hours,” based on the novel and film, was relentlessly, exhaustingly tear-jerking.While Puts’s work was a vehicle for a trio of divas, including Renée Fleming and Kelli O’Hara, the real star was the third: the mezzo-soprano Joyce DiDonato as a brooding but dryly witty Virginia Woolf, her voice mellow yet penetrating.Joyce DiDonato as Virginia Woolf in “The Hours.”Sara Krulwich/The New York TimesHers was one of the performances of the year. Another was the mezzo Samantha Hankey’s alert, youthful Octavian in Strauss’s “Der Rosenkavalier.” Hankey was joined by the Marschallin of the radiant soprano Lise Davidsen, who kept her immense voice carefully restrained for much of this long, talky opera before unleashing its full force in the final minutes.In a clunky new production of Wagner’s “Lohengrin” by the director François Girard, the tenor Piotr Beczala seemed almost to float — utterly assured and elegant in the otherworldly, treacherously exposed title role. This is a singer nearing 60 and doing his best work.But the coup of the year may have been the Met debut of the conductor Nathalie Stutzmann. Leading one new production of a Mozart opera is hard enough, especially as an introduction to the company — but two, simultaneously? And Stutzmann’s work in both Ivo van Hove’s austere “Don Giovanni” and Simon McBurney’s antic “Magic Flute” was superb: lithe but rich, propulsive without being rushed or stinting these scores’ lyricism.How was she repaid? Before “Flute” opened, Stutzmann was quoted in The New York Times remarking that McBurney’s production, which raises the pit almost to stage level, lets the musicians see what’s going on rather than keeping them, as usual, in the “back of a cave” where there’s “nothing more boring.” Jokey and innocuous. But for some reason, the musicians flew to social media and condemned her for accusing them of playing bored.Even worse, the Met’s music director, Yannick Nézet-Séguin, rather than standing up for his colleague or trying to resolve the conflict behind the scenes, publicly cheered this unseemly pile-on, adding seven clapping emojis to an Instagram post by the orchestra. He and the musicians should be ashamed of themselves; Stutzmann should be celebrated.Next season, while curtailed, is hardly free of ambition, offering a profusion of recent works and some intriguing repertory pieces, like Verdi’s “La Forza del Destino” (not seen at the Met since 2006), Puccini’s “La Rondine” and Wagner’s “Tannhäuser.”This new approach to programming is an experiment. Revivals of “Fire Shut Up in My Bones” and “The Hours” will test whether contemporary operas have legs beyond their premiere runs, and we’ll see if the trims to the season increase sales for what remains.Hopefully, it all keeps the Met alive and vibrant. But whatever the coming years bring will likely be quite different. It was oddly, sadly appropriate that the veteran soprano Angela Gheorghiu, absent from the company for eight years and set to return for two performances of “Tosca” in April, came down with Covid-19 and had to cancel.This is a new phase, fate seemed to say, and the old divas — at least the ones not named Renée — need not apply. More

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      Ian Bostridge on Music’s Fuzzy Boundaries of Identity

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      The beloved tenor’s latest book and album emerged from a time when the pandemic forced him to question what exactly he does when he sings.Spring this year has been a particular joy for touring singers like me. The cloud of Covid seems to have evaporated: Restrictions have been lifted, audiences have (nervously) returned and the prospect of being stranded in foreign parts with a positive test is gone, not to mention the diminishing threat of serious or voice-impacting illness. Things will never be the same — they never are — but some semblance of normalcy has returned.When the endless travels of classical music were interrupted, though, and when I was forced into a kind of silence, I had time and the inclination to question what I was doing, to ask what exactly I’m up to when I stand up and sing a song. This interacted with two projects that were conceived before the pandemic but were largely undertaken during it: “Song and Self,” lectures and a resulting book, and a recording of “The Folly of Desire,” a song cycle written by and performed with the pianist-composer Brad Mehldau.This spring saw the consummation of both, with the book out from the University of Chicago Press in April, and the album out on June 2 on the Pentatone label. In my writing, I looked at some iconic works — by Monteverdi, Schumann, Britten and Ravel — exploring them in the light of concerns about gender identity, colonialism and death. Mehldau’s work, resolutely art and not remotely a work of analysis, treats the multiform and problematic nature of sexual desire, sometimes with a shocking directness and sometimes with a glowing compassion, but always with a visceral beauty.WHEN I BECAME a professional musician, in the mid-1990s, I forged my reputation as a singer of songs — particularly of lieder, German art song, that very niche but hugely significant branch of classical music reinvented by Franz Schubert in the 1820s and brought to global prominence by the legendary baritone Dietrich Fischer-Dieskau after World War II.Ian Bostridge, right, performing “The Folly of Desire,” with Brad Mehldau at the piano in 2019 at Zankel Hall in Manhattan.Stephanie BergerThe big discovery I came to, as I made my first tentative steps into the world of music theater, was that the distinction I had unconsciously made between “song” and “opera” was misconceived and inhibiting. The boundary between the two was, rather, fluid and permeable.Having seen Fischer-Dieskau perform toward the end of his career in the 1980s, I had already half-learned this lesson. To watch him perform even as purely lyrical a song as Schubert’s “Meeresstille,” a setting of Goethe’s poem about a ship becalmed at sea, was to see a master actor at work. Some of the great stage directors I have worked with in opera — Baz Luhrmann, David Alden, Deborah Warner — have encouraged me to bring the special intensity of the song recital, the “expressive intimacy” identified by my baritone colleague Christian Gerhaher in a recent book, to opera.Conversely, song recitals involve the presentation of a persona just as much as any other piece of music theater. And the boundaries between acting as impersonation (think Daniel Day-Lewis’s film performances) and as intensification of the reinvented self (now think of Cary Grant’s work with Hitchcock) are constantly shifting.Hybrid forms, neither opera nor conventional recital, are particularly interesting in this regard. Three pieces of music theater that I have been lucky enough to bring to Lincoln Center in New York — Seamus Heaney’s translation of Janacek’s “Diary of One Who Vanished,” directed by Warner, and Netia Jones’s stagings of Schubert’s “Winterreise,” in a version by Hans Zender, and of Britten’s “Curlew River” — were exactly that: staged song cycles in the first two cases, and reimagined ritual in third. They encouraged me even more to explore an issue that I found slippery and abstract at first, but that gradually took on a clearer form.Identity is something that all performers have to confront. Each time we stand onstage to deliver a text — literary or musical, or some combination of the two — we have a decision to make about its character, and about our stance toward it. How do we go about embodying it? Do we take on the identity of the material we have absorbed, or does it reconfigure itself as it is molded to our own identity? What is our duty to the text? To the audience? To ourselves?My book “Song and Self” explores and worries at issues of identity that come to the fore in some of the works I love — issues of gender, for example. Is the real protagonist of Robert Schumann’s “Frauenliebe und -Leben” not the woman we see on the surface, but rather the composer, whose anxieties and passions inflect the cycle at every point? What difference does it make if the cycle is sung, as it was in the 19th century, by a man? Should I sing it today?Then again, how important is the gender of the Madwoman, which I have sung, in “Curlew River”? Britten uses the ritual resources of Japanese Noh theater to create a sort of distancing. Cross-gender casting is a part of this, but one which in blurring our perceptions of gender only amplifies the impact of the austerely told story: The Madwoman is all of us.Troubling political issues can also intersect with the sung persona as I discovered in my research into Ravel’s “Chansons Madécasses.” The second section of this powerful cycle, for voice and instrumental trio, is a setting of an 18th-century protest against longstanding French attempts to colonize Madagascar, voiced by a Malagasy. “Méfiez-vous des blancs” (“Beware of the whites”) he cries — but that cry was written by Évariste Parny, an opponent of slavery yet a slave owner.Ravel wrote the song in the midst of French colonial wars in North Africa, only a few decades after the bloody French conquest of Madagascar in 1896. Some early audiences saw the piece as political provocation. There’s something troubling about these twin acts of ventriloquism, Parny’s poem and Ravel’s music. In addressing the song we have to ask questions about the poet’s bad faith as a slaveholding abolitionist, about the composer’s motives and about our own. Who should sing this song? Who owns it?“Song and Self” is very much an exploratory work. It takes the notion of the essay at its word — as an attempt, an experiment. If I draw any conclusion, it’s that the way to approach classical music, in an era in which its relevance or ideological stance is constantly being questioned, is to explore where it comes from more closely, not to throw it away. Questioning is built into the classical music tradition; and interpreting this complex music that we have inherited means negotiating between the preoccupations of the past and the present so that we can discover more about ourselves.MEHLDAU’S “THE FOLLY OF DESIRE” demands similar questioning. I had first met Brad five or six years ago; he was playing jazz improvisations and I was singing “Winterreise,” we hit it off, and he offered to write song cycle for the two of us. What emerged, about 18 months later, was a group of songs that set the past and the present against each other in a way that also opened up new ways of thinking — in this case, concerning what William Blake called “the lineaments of gratified desire.”“Folly” both fits into and challenges the tradition of Romantic lieder that Mehldau and I love so much. It sets a series of poems in a dizzying sequence of musical styles that reflect the shifting perspectives on desire opened up by each poem he sets: the delicate darkness of William Blake’s “The Sick Rose”; the classical horror of Yeats’s “Leda and the Swan”; the sly lubricious perversity of a sonnet by Bertolt Brecht so obscene that his estate will not allow it to be translated; the rollicking jocks of E. E. Cummings’s “The Boys,” set in the style of Supertramp “with Wurlitzer.” The cycle ends with an epilogue based on one of the great poetic expressions of the ambiguities and compromises of sexual relationships, W.H. Auden’s “Lullaby”: “Lay your sleeping head, my love / Human on my faithless arm.”We performed the songs in recital with Schumann’s “Dichterliebe.” The pairing reinvigorated the weirdness and perversity of a piece from the 19th century so familiar as to be in danger of losing its edge. Mehldau’s cycle can also be shocking, but, as in the Schumann, to dramatic effect; juxtapositions of violence and serenity intensify our engagement with the mysterious movements of text and music. When a tiny motif from the first Blake setting reoccurs in the last — “What is the price of experience? Do men buy it for a song? / Or Wisdom for a dance in the street?” — we are moved, even if we hardly know why.In the end we decided to complete our recording with the jazz encores we had performed over the years, rather than with the Schumann. But hearing these standards — “These Foolish Things,” “In the Wee Small Hours of the Morning,” “Every Time We Say Goodbye,” “Night and Day” — set against Mehldau’s cycle also opens them up to questioning.“The Folly of Desire” explores different identities through text and music, some rebarbative and some consolatory, and in doing so shines a light on our experience of desire — its capacity for mindless destruction, its sublime creativity, its sheer idiocy. Folly indeed. As Mehldau writes in a composer’s note, it was written in a period when desire and its dangers were very much at the fore of public discourse, as #MeToo forced everyone to come to terms with the troubled issue of consent.But the piece is, as Mehldau says, “untouched by prosaic discourse.” Like other great works of the classical tradition, it allows us to inhabit other personas, other worlds. And it offers no answers, doing what art does in that spirit of negative capability, which Keats so perfectly encapsulated: to be “capable of being in uncertainties, mysteries, doubts, without any irritable reaching after fact and reason.” More

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      Kaija Saariaho, Pathbreaking Composer, Is Dead at 70

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      She brought new colors to modernist music, sometimes using electronics, and became the first female living composer to have two operas staged by the Met.Kaija Saariaho, a Finnish composer who was brought up in the world of male-dominated high modernism but who broke away to forge an identity of her own, becoming the first woman to have more than one work of hers staged by the Metropolitan Opera, died on Friday at her home in Paris. She was 70.She had been diagnosed with brain cancer in 2021, said her publisher, Chester Music, which confirmed the death.Ms. Saariaho brought new and often mysterious colors to classical music.In Paris, where she had settled permanently, she experimented with tape and live electronics, which she applied to nearly every form in classical music: works for solo instrument and small ensemble, and for symphony orchestra and opera. Over the years she rose to the top of her field, a slow-changing industry that only in recent years has made steps to correct the repertoire’s gender imbalances.Her first opera, “L’Amour de Loin,” which premiered at the Salzburg Festival in Austria in 2000 and came to the Met in 2016, won the Grawemeyer Award for music composition. Her most recent entry into that genre, “Innocence,” debuted at the Aix-en-Provence Festival in France in 2021 and will travel to the Met in the 2025-26 season.When the Met joined the work’s list of commissioners, Ms. Saariaho in turn joined a select group of living composers to have a second opera mounted by that house — and the only woman to gain that distinction.Kaija Saariaho was born on Oct. 14, 1952, in Helsinki. She studied at the storied Sibelius Academy there, and was a pioneering impresario of contemporary music, forming the group Open Ears with fellow young artists. She left to continue her education in Freiburg, Germany, with summer courses taken in the modernist hotbed of Darmstadt. She moved to Paris in 1982 to finish her studies at IRCAM, the institute founded by Pierre Boulez.A complete obituary will appear soon. More

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      Review: Tomasz Konieczny Returns to the Met Opera in ‘Dutchman’

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      After a triumphant house debut in 2019, the bass-baritone Tomasz Konieczny brought power and clarity to the title role in “The Flying Dutchman.”On Tuesday night, four years after being hailed as the breakout star of a revival of Wagner’s “Ring” at the Metropolitan Opera, Tomasz Konieczny returned there to headline “Der Fliegende Holländer,” or “The Flying Dutchman.” It was worth the wait.Konieczny’s Dutchman, cursed to ride the seas endlessly in a ghost ship with black masts and red sails, seemed to channel supernatural forces as he emerged from the bowels of François Girard’s unremittingly dark production. Konieczny possesses an instrument of granitic power and brassy resonance, combining the depth of a tuba with the brightly penetrating cast of a trumpet. He can also cover his voice and fill it with pitiful tears. For such a sizable instrument, his attack is astonishingly clean; he inflates a straight tone to a vibrating roar and makes it sound like an exquisite cri de coeur.Peter Gelb, the Met’s general manager, offered the role to Konieczny, a Polish bass-baritone, in 2019 when Gelb heard Konieczny’s company debut as Alberich in the “Ring” that year. Konieczny brought unusual charisma and nobility to the designated villain of Wagner’s epic tetralogy, and his Dutchman is likewise a complex creation.A tragic figure whose stoic demeanor masks a writhing pain within, Konieczny’s Dutchman rises above earthly concerns but rages with focused fury against the ever-fresh torments of his Sisyphean predicament. His invincibility has made him disdainful of humans and desperate for death, and yet he harbors a romanticized fixation upon love. The Dutchman comes ashore once every seven years in search of a woman who can redeem him with her fidelity and break his curse. (Of course, the premise contains passive-aggressive misogyny — that a man in search of a faithful woman is doomed to look for her forever.)As Senta, the woman who returns the apparitional captain’s obsessive attention, Elza van den Heever sang with a ductile soprano. In “Senta’s Ballad,” she catapulted into high-lying phrases with strength and point and drew her voice into a slender thread for beautifully formed pianissimo high notes. As infatuation consumed her, van den Heever summoned the tonal amplitude to fill out Wagner’s portrait of a love that is annihilating in its totality.The clear thrust of Eric Cutler’s tenor gave the role of Erik, Senta’s abandoned lover, unusual poignancy. The bass Dmitry Belosselskiy effectively rendered Daland, Senta’s venal, easily dazzled father, as a strong yet foolish man who would trade his daughter for riches.Girard’s production — like his recent “Lohengrin” — attempts to get a lot of mileage out of a few ideas. It’s long on ambience, with billowing fog and undertones of sickly, hallucinogenic greens, and short on storytelling.Fortunately, the 29-year-old conductor Thomas Guggeis, making his Met debut, added depth to the atmosphere of roiling fantasy. The overture came alive with stormy eddies and pulsating vigor, even as video projections of a maelstrom and cracks of lightning felt redundant. The strings, in particular, found imaginative colors: Their throbbing vitality, unabashed romance and otherworldly shrieks covered the range of a work that swings from bel-canto influences to the enthralling mythmaking that would become Wagner’s signature. There were some missed opportunities — such as the dark timbres that color the Act II duet for Senta and the Dutchman — but overall, Guggeis was a confident, sensitive, decisive presence.At times, Girard’s abstract staging still seems to distrust the material, but kinetic conducting and a richly characterized central performance show that it may simply have been waiting for a few artists to redeem it.Der Fliegende HolländerThrough June 10 at the Metropolitan Opera, Manhattan; metopera.org. More

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      The Conductor Thomas Guggeis Is Rising Fast After a Surprise Debut

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      Thomas Guggeis was a young repetiteur at the Berlin State Opera five years ago when he was asked a career-changing question: Could he conduct “Salome”?He had worked with the singers, but this new production of Strauss’s opera was meant to be led by the veteran maestro Christoph von Dohnányi — until a dispute with the director led him to back out mere hours before the final dress rehearsal. So Guggeis went on in his place. And he was back in the pit on opening night.“This was a situation of a star is born,” said Bernd Loebe, the general manager of Frankfurt Opera, who saw Guggeis lead that performance.It wouldn’t be the last time Guggeis, now 29, stepped into a high-pressure situation. Earlier this season, as the State Opera’s Kapellmeister, or house conductor, he picked up rehearsals and two runs of a new “Ring” cycle after Daniel Barenboim withdrew because of illness. And on May 30, he will make his North American debut at the Metropolitan Opera in New York, leading a revival of Wagner’s “Der Fliegende Holländer,” taking over from Jaap van Zweden.Things are happening quickly — Guggeis starts as the general music director of the Frankfurt Opera this fall — but he is trying to maintain a steady development that some of his peers have abandoned in favor of peripatetic celebrity.“There was a question of how to go on,” he said in an interview at the State Opera here. “Do you jump on the moving train or do you stay on track? Together with my agent, I decided to keep calm. If an opportunity is meant to be, there will still be interest and possibility in two or three years.”APART FROM an uncle — the accomplished percussionist Edgar Guggeis — Guggeis grew up in a nonmusical family in Bavaria. His father was the director of a brewery, and his mother was a tax clerk. But he played instruments from a young age, and sang in choirs.Guggeis followed those interests to the Hochschule für Musik und Theater in Munich, but not with single-minded focus. He studied conducting but, aware of the precarious life it promised, also picked up a degree in quantum physics.“I was really interested in the subject,” he said, “and I just wanted to have something on the safe side. You never know how it works out as a conductor. When I started, if you asked me, ‘Where do you see yourself in 10 years?’ I would say I don’t know. But I will have this other degree, and I can always go back to that.”Guggeis is trying to maintain a steady development. “There was a question of how to go on,” he said. “Do you jump on the moving train or do you stay on track? Together with my agent, I decided to keep calm.”Ava Pellor for The New York TimesNow, Guggeis might read about a discovery related to something he remembers studying in school. But his specialty was theoretical particle physics, which is impossible to follow on a part-time or casual basis. So he has stopped keeping up with the field.During his time in Munich, Guggeis was often at the Bavarian State Opera while it was under the music directorships of Kent Nagano and Kirill Petrenko. In between classes one day, he sat in on a rehearsal of Strauss’s “Die Frau Ohne Schatten” led by Petrenko. By the second act, he decided to skip school and stay. He was hooked, and saw nearly everything the house had to offer in what amounted to a parallel education. “To see those conductors,” he said, “was amazing, but also so formative.”Guggeis continued to study conducting in Milan, then returned to Germany to serve as a repetiteur in Berlin. He coached singers from the piano but almost never spoke with the house’s long-reigning maestro, Daniel Barenboim. “It was hard to get close to him,” Guggeis said, “because everyone wants something from him there.” But slowly, the two built a relationship in which Barenboim became increasingly approachable.For his part, Barenboim didn’t need much time at all. He recalled watching the young conductor lead a rehearsal and immediately thinking he was gifted.“You can see these things straight away with somebody,” Barenboim said. “And he was obviously a very natural conductor. He had a rare combination of easiness and comfortable responsibility. He moved his arms in a natural way, and was naturally in command. From the very beginning.”Their bond deepened. “It felt like family,” Guggeis said. “He was generous, supportive, kind and always there when I had questions about career.” They talked about music, art and philosophy, or gossiped about Pierre Boulez. Between those conversations and the rehearsals Guggeis would watch and later ask about, Barenboim became, he said, “the most influential mentor for me.”GUGGEIS BELONGS to a class of conductors — more common in Germany — that comes up through opera houses rather than concert halls, even if their careers eventually balance both. He said that the repertoire he learned as a repetiteur has stuck “deeply in my head and guts,” and that his time at the State Opera in Berlin, as well as in Stuttgart and Berlin as a Kapellmeister, has defined his approach to the podium, such as how to manage rehearsals and soloists or wrangle a large-scale work for orchestra and chorus.“You can never buy that experience,” he said, “no matter how talented you are.”He has also tried to test out famous pieces like Beethoven’s Ninth Symphony away from very public stages like the Philharmonie in Berlin or the Musikverein in Vienna. He has conducted the Beethoven, but in Italy, in a five-concert series with the Milan Symphony Orchestra, following advice he once heard attributed to Herbert von Karajan, that regardless of where you lead this work, the first 15 times won’t be good; so start early.Guggeis at the Met. In fall, he becomes general music director of the Frankfurt Opera.Ava Pellor for The New York TimesWhen Guggeis shares memories and insights like that, he sounds like a conductor looking back on a career rather than forward. His mix of confidence and self-awareness was part of what endeared him to Barenboim, who said: “He’s very talented, but he knows that he has a lot to learn. He has a great curiosity, and that will go until the end of his life.”Curiosity, but also the courage to take on classics by Wagner and Strauss in front of the boo-happy audience at the Berlin State Opera. (Reviews during his time as Kapellmeister have tended to be positive.) So, when he stepped into the pit for “Salome,” it was just another day on the job. He was supported by Dohnányi, who remains a mentor — and gave him most of his score library — and stunned Barenboim.“It was remarkable,” Barenboim said. “There was no ‘What shall we do now?’ His future was absolutely clear.”Loebe, Frankfurt Opera’s general manager, was similarly struck by this 24-year-old conductor he had never heard of before. “I wanted to know more,” he said. “So I saw him many more times, and we started to have many meetings.” Loebe was looking for a new music director, and Guggeis was “the only guy I wanted.”Frankfurt’s orchestra, Loebe added, was used to having two or three choices, but he insisted on Guggeis, who formed a quick bond with the musicians. During the pandemic, he led them in a streamed performance of Mozart’s “Requiem” — one of the few videos online of his conducting — that reveals his clear direction, level head and sense of shape. Then, in 2021, he was named as their new music director.Mozart is how Guggeis will begin his tenure next season, with a new production of “Le Nozze di Figaro” premiering on Oct. 1. In a demonstration of the range he hopes for there, he will also lead Ligeti’s “Le Grand Macabre,” Wagner’s “Tannhäuser,” Verdi’s “Don Carlo” and Strauss’s “Elektra,” in addition to concert programs.Guggeis’s inaugural season in Frankfurt took shape as he was wrapping up his time as Kapellmeister in Berlin. There, he was working with Barenboim on a new production of Wagner’s four-opera “Ring” that was unveiled all at once last October, an immense and virtually unheard-of undertaking for a repertory house. It was years in the making, but Barenboim’s health rapidly declined that summer, and the planned four cycles were split between Guggeis and Christian Thielemann.When his condition permitted, Barenboim shared his wisdom with Guggeis about, for example, which notoriously tricky passages in the operas’ 16 hours of music should be the focus of rehearsals. They still speak; Guggeis values his advice, seeing it as the equivalent of singers working with coaches long into their careers.Guggeis was also in constant contact with Thielemann, an experienced hand in Wagner. “We were working out problems together,” he said. “It was very interesting. But then he would also say things like not to worry about ‘Ride of the Valkyries,’ because it’s self-going, it will become loud by itself. All this was really fantastic for me.”Earlier this month, Guggeis said goodbye to Berlin, for now; his tenure as Kapellmeister ends this season. He led two concerts with the Staatskapelle, the opera house’s storied orchestra, and was on a plane to New York for “Holländer” rehearsals the next day.“The little bird is now flying from its nest,” he said in an interview at the Met. “I’m conducting professionally since five years, more or less. I was with this fabulous orchestra and now I’m here working at this tremendous place. To be here is something I never would have expected, and couldn’t ever wish for.” More

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      Salvatore Sciarrino Returns to Myth in the Opera ‘Venere e Adone’

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      Salvatore Sciarrino’s “Venere e Adone,” his 15th opera, premieres this weekend at the Hamburg State Opera.When the baritone Evan Hughes agreed to sing the part of the wild boar in Salvatore Sciarrino’s “Venere e Adone,” premiering at the Hamburg State Opera on Saturday, he didn’t expect to become the star of the show.In most opera versions of the Venus and Adonis myth, like John Blow’s “Venus and Adonis” (1683) and Hans Werner Henze’s “Venus und Adonis” (1997), the boar is silent or eliminated. But in “Venere e Adone,” with a libretto by Sciarrino and Fabio Casadei Turroni, the boar, or the Monster, is not just a singing role — he is the moral core of the story.In this version of the myth, the Monster, who has five solo scenes, doesn’t mean Adonis harm. The creature has been hit by one of Cupid’s arrows, and instantly falls in love with the boy hunting him.“I said yes to the project before I even really understood that the Monster was a sympathetic character,” Hughes said in an interview. “He only becomes violent because of the outside world.”Salvatore Sciarrino, a composer of stage scores that are intimate, fragile and sparse.Andreas Meichsner for The New York TimesIn an interview at his home in Città di Castello, Italy, Sciarrino, 76, said he considered the Monster to be the most human character in “Venere e Adone.” At the beginning, the Monster sings from a sort of existential limbo, unsure of who he is or what he wants. When he kills Adonis, who is hunting him, the Monster thinks he is caressing and kissing the most beautiful creature he has ever seen. Instead, he is mauling him to death.“What is life for you is death for another,” Sciarrino said. “It is one of the keys to being in the world.”“Venere e Adone” will be led by the Hamburg State Opera’s music director Kent Nagano and staged by it artistic director, Georges Delnon. It is the first Sciarrino production that Nagano has conducted, and although Delnon has known the composer for about 25 years, this is their first collaboration on a new opera.The project began when Turroni, 59, a writer and former tenor, approached Sciarrino with a draft libretto based on a version of the Venus and Adonis myth by the Italian Baroque poet Giambattista Marino.Sciarrino and Turroni began meeting frequently, often at a bar near the train station in Bologna, to shape the text together. (Drunk people can be useful sources of literary inspiration, said Turroni, who also works as a bartender in Bologna.) Over several months, they adapted it to the needs of the music; the final performance libretto was extracted directly from the score.Evan Hughes, left, as the Monster, and Scotting in a rehearsal for the opera.Andreas Meichsner for The New York Times“Venere e Adone” broadly follows the contours of the myth. Venus, the goddess of love, has descended to earth to be with Adonis, enraging her husband, Mars. Adonis wants to prove to Venus that he is not just handsome but also strong, so he makes a plan to go hunting. Venus discourages Adonis; petulantly, he ignores her. In battle, the boar sinks its tusks into Adonis’s groin.In Ovid’s “Metamorphoses,” Adonis is transformed into a flower by Venus as a memorial to his short-lived beauty. In Turroni and Sciarrino’s version, both the beauty and the beast who kills him are transformed into this flower, becoming one with nature and each other.“Venere e Adone” is Sciarrino’s 15th opera. His first, “Amore e Psiche,” also based on a mythical theme, was completed 50 years ago. In these works, Sciarrino has honed an unmistakable theatrical style: intimate, fragile and sparse, with clearly audible text.While some artists go through distinct periods, Sciarrino has spent his career pursuing his peculiar brand of beauty. “I don’t really see a radical departure or sudden burst of experimentation that’s taken place over the years,” Nagano said in a video interview. “Rather, I would say that it’s a deepening and perhaps refining of a language so that it speaks in evermore poetic ways.”From left, the conductor Kent Nagano, the director Georges Delnon and Sciarrino at the Hamburg State Opera.Andreas Meichsner for The New York Times“It is impossible to hear a human voice and remain indifferent,” Sciarrino once told the Brooklyn Rail.He added: “Using the voice means employing simultaneously two forces, words and music. Singing without words is nonsense, like making a car without wheels.”Unlike opera composers whose orchestral music reflects both the conscious and unconscious emotions of the characters, Sciarrino writes instrumental parts that summon their environment. In “Venere e Adone,” there is little accompanying music at all. Furtive echoes, forlorn bird calls and windlike breath sounds evoke a naked earth.“The music of this opera is very dry,” Sciarrino said. “There are not so many sounds in this world, because it is an empty world.”In “Venere e Adone,” the vocal music is also restrained. The singers intone the text quickly while sliding downward with their voices, or hold long, clear notes that blossom into brief melismas.The countertenor Randall Scotting, who plays Adonis, compared “Venere e Adone” to an Emily Dickinson poem. “There’s so much in it,” he said, “but you have to think about it, interpret it, bring your own things to it in order to understand it.”Sciarrino’s vocal style can be challenging for singers. The Canadian mezzo-soprano Layla Claire, in the role of Venus, spent so much time walking around her house while practicing rapid Italian phrases that her two young daughters started repeating fragments of the libretto.Delnon’s production aims for the artificiality of Baroque opera.Andreas Meichsner for The New York Times“Once I started listening to Sciarrino’s music, I realized it was a language I didn’t speak,” said Hughes, the baritone. “As I started to work on it, I felt the same way that I felt at the beginning of studying, singing, learning a language that I really didn’t understand, like trying to sing in Russian.”But Sciarrino’s vocal style isn’t completely unfamiliar. He is fascinated by the art and music of the Italian Renaissance and the Baroque periods. The walls of his home are covered in paintings, including a 17th-century depiction of Adonis and his mother Myrrha by an anonymous Venetian artist.Sciarrino himself almost became a painter. The influence of Renaissance and Baroque art will be palpable at the premiere of “Venere e Adone.” Delnon and his team have hung historical depictions of the Venus and Adonis myth in their rehearsal space at the State Opera, adapting the stylized gestures from the paintings to the stage. The set designer, Varvara Timofeeva, and the costume designer, Marie-Thérèse Jossen, are developing sleek, minimalist interplays of black, white, gray and blood red.Like Baroque opera, “Venere e Adone” uses a chorus, but to ambiguous ends.Andreas Meichsner for The New York TimesDelnon is aiming not for psychological realism, but for the artificiality of Baroque opera in his production. “You stage it in a way that you’re not trying to be the character,” he said, “but just trying to show the character.”“Venere e Adone” also includes music that sounds explicitly Baroque. For Scotting, it is the rare work where his early and contemporary music come together. “There’s this thread of antiquity that ties into it all,” he said.Sciarrino also uses the Baroque trope of a chorus that narrates and comments on the action. But while operas from that era often use the chorus to superimpose a neat moral on the story, Sciarrino deploys the vocal ensemble to more ambiguous ends. “Venere e Adone” concludes with a question: “Who triumphs, love or death?”Here, the Monster is redeemed by those universal forces. “It’s as if Sciarrino is saying that the Monster is almost rewarded,” Delnon said, “and Adonis is punished.”Sciarrino said the question was intentionally absurd and unanswerable. But, he continued with a laugh: “To tell the truth, love always wins. Or what we call love. That is the power of the word.” More