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      Singing, and Signing, Beethoven’s ‘Fidelio’ in Los Angeles

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      The Los Angeles Philharmonic and Deaf West Theater are working on an innovative production conceived for both hearing and deaf operagoers.LOS ANGELES — DJ Kurs has been the artistic director of the Deaf West Theater, a theater company created here by deaf actors, for the past 10 years. But he had never seen the Los Angeles Philharmonic or been to the Walt Disney Concert Hall, its renowned home, even though he grew up in Southern California.He will be there this week, though, leading seven actors from Deaf West in an innovative production of “Fidelio,” Beethoven’s opera about the rescue of a political prisoner, in a collaboration with a cast of singers and the Los Angeles Philharmonic. The actors — along with a chorus from Venezuela whose members are deaf or hard of hearing and will also be signing — will be center stage on opening night Thursday, expressively enacting the lone opera of a composer who had progressive hearing loss while writing masterpiece after masterpiece. In this “Fidelio,” the singers will stay in the background.“Opera itself as an art form, it has not been accessible to our world,” Kurs, 44, said the other day through a sign-language interpreter. Deaf West, he said, had been approached in the past about collaborating on operas but had always declined.But after nearly two years of not performing because of the pandemic — and after watching an energetic tape of Leonard Bernstein conducting “Fidelio” — Kurs decided to accept this offer to work with the Philharmonic and its music director, Gustavo Dudamel.Indi Robinson and Gregor Lopes, deaf actors, rehearse a scene from Beethoven’s opera “Fidelio.”Michael Tyrone Delaney for The New York TimesThe extraordinary nature of the endeavor was clear as singers and actors gathered last week for rehearsals at a United Methodist church in Toluca Lake, in the San Fernando Valley, some 10 miles from Disney Hall. Each day was a mix of languages, movement and simultaneous translations — between voiced German, Spanish and English and signed American Sign Language and Venezuelan Sign Language.For the production, 135 singers, actors, choir members (singing and signing), and orchestra players, along with Dudamel, who will conduct the production, will fill a stage that usually just accommodates an orchestra.“We are creating the dance of the double-cast,” said Alberto Arvelo, the director of the production, in which each character is portrayed by both a singer and an actor. “We have been conceiving ‘Fidelio’ for both audiences — we want to create to create an opera for a deaf audience as well. From the first bar of the opera.”For the actors, who are accustomed to performing in musicals including “Spring Awakening,” which has been part of Deaf West’s repertory, adapting to a more operatic style has been something of an adjustment.“It’s a challenging and terrifying experience,” said Russell Harvard, the actor playing Rocco, the jailer, after rehearsing a scene where he took Leonore to the dungeon to see her husband (husbands: a singer and an actor) sleeping on the floor. “I have never done anything like this before.”Josh Castille, a deaf performance artist acting the role of Florestan, left, worked with the director, Alberto Arvelo, center, and Ian Koziara, the tenor singing the role of Florestan.Michael Tyrone Delaney for The New York TimesThe actors have to translate German (the language of Beethoven’s opera, and one that few of them know, so lip-reading is not an option for most) into American Sign Language. And they have to get used to the florid, multiple repetitions of a single word or line in the score, all of which are second nature for opera singers used to coloratura runs, and find ways to convey, with signs, the big moments when a singer sends a single note soaring through the hall.“Oh gosh — it is stressing me out,” said Amelia Hensley, the actor portraying Leonore, who disguises herself as a man named Fidelio to get a job in the jail where her husband, a political prisoner, is being held, in the hopes of saving him.“I have to hold my sign for an incredibly long time because the note is held that long,” she said. “It’s difficult for me to understand because I don’t hear. And I want to make sure that the deaf audience will understand me and understand why I’m holding this out, because it’s not natural to the language to hold a sign that long.”This production of “Fidelio” is opening less than a month after “CODA” won the Academy Award for best picture, and Troy Kotsur, who used to be member of Deaf West, won the Oscar for best supporting actor, the first deaf man to be so honored by the academy. Deaf West is developing a musical version of “CODA.” (Dudamel and his wife, Maria Valverde, said in an interview they had seen the movie three times.)This production is steeped in classical music history, since Beethoven experienced hearing loss in the last decades of his life. (“Ah, how could I possibly admit an infirmity in the one sense which ought to be more perfect in me than in others,” the composer and musician wrote in 1802 in an anguished letter addressed to his brothers that came to be known as the Heiligenstadt Testament.)María Inmaculada Velásquez Echeverria, the artistic director of White Hands Choir.Michael Tyrone Delaney for The New York TimesThat history intrigued Dudamel as he was arranging a 250th anniversary celebration of Beethoven’s birth just before the pandemic. “It was how to make the opera be part of these two worlds — the two worlds of Beethoven,” he said.And it is what drew Deaf West to this project; its members considered what Beethoven faced writing and conducting while dealing with a steady decline in his hearing.“Maybe he did it through feeling the vibrations of the music?” Kurs said. “I don’t know Beethoven’s exact process, but there’s a similarity to how I experience music. I’ve never heard music in my entire life, but I think that I understand it.”There is much debate among biographers and musicologists about Beethoven’s level of hearing at various points in his career. He wrote and revised “Fidelio” over the course of nearly a decade, from its first performance in 1805 to the substantially revised version of 1814. By 1813, he had several ear trumpets made. By 1818, he began carrying pads of paper for people to write down what they were saying to him. While he was able to continue composing as his hearing deteriorated, it became increasingly difficult for him to perform and conduct.“It never really affected his ability to compose or orchestrate because he was wildly creative throughout his life,” said Theodore J. Albrecht, a retired professor of musicology at Kent State University, who has written extensively about Beethoven.Jan Swafford, a Beethoven biographer, said the composer began reporting hearing loss as early as 1798. “He would not have lost pitch as much as color,” he said of its onset.In the original plan, before the pandemic, this production was to be presented in Europe, with Dudamel conducting the Mahler Chamber Orchestra along with the White Hands Choir, a group of deaf and hard of hearing performers associated with El Sistema, the music education program in Venezuela where Dudamel trained. After the tour through Europe was canceled, Dudamel revived the idea here in Los Angeles, this time working with his own orchestra and Deaf West, the renowned Los Angeles-based theater.Dudamel is familiar with the complexities of leading an orchestra, singers and a choir; he is also the music director for the Paris Opera. But this week, he will also be leading the deaf and hard-of-hearing actors from Deaf West and choir members from Venezuela.The conductor Gustavo Dudamel, left, worked with members of the opera’s cast and chorus at a recent rehearsal.Michael Tyrone Delaney for The New York TimesDudamel told Kurs he had to some extent been prepared for this because of his work at the podium, especially as someone who conducts orchestras all over the world, with players who speak many different languages. (Some orchestra players disdain overly verbal conductors in any language, preferring to work through the music.)“In a way, a conductor needs to have sign language conducting the orchestra,” Dudamel told Kurs during a break in a rehearsal. “You cannot say anything. You can only show them.”Valverde, an actress and filmmaker, is producing a documentary about the White Hands Choir, whose members wear distinctive white gloves, and was there filming the choir as her husband led it in rehearsal.The aspirations of this performance will be signaled from first notes of the overture.The Venezuelan choir will use choreography and facial expressions to convey the power of the overture which opens the opera: The other day, it was wide smiles and hands raised to the air in a representation of fireflies. “Fidelio’s overture is especially optimistic,” Arvelo, the director said. “In such a dark story, the overture starts with this moment in major tones. We were like: How can we transmit this with images?”During the spoken stretches of the opera, the audience will hear nothing: the actors will communicate the dialogue in sign language, which will be translated on supertitles cast above the stage.The production will last for three nights.“I think it’s going to be a mixed audience,” said Chad Smith, the head of the Los Angeles Philharmonic. “There will be a lot of the L.A. Phil audience who are coming to hear Gustavo and the LA Phil perform one of the great works from the canon.”Smith added that the hope was to also have people who are deaf or hard of hearing, who are in the space for “perhaps the first time.”The experience has proved to be as powerful for the opera singers as for the actors. Ryan Speedo Green, the bass-baritone who appeared as Uncle Paul in “Fire Shut Up in My Bones” at the Metropolitan Opera last year, and is the singing counterpart to Russell Harvard’s Rocco, said this was the most inclusive opera he had ever witnessed.“People want to see themselves onstage,” he said. “For once in my life, I’m going to be someone’s voice and they’re going to be my action. He is my body and my action and my intent and my physical interpretation. And I am his voice to the audience, to the hearing audience. We are one entity — Rocco. He is attached to me, as much as I am attached to him.” More

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      One Opera, Three Acts, Three Different Stagings

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      In Stuttgart, Wagner’s “Die Walküre” is being divided among a trio of creative teams with divergent visions.STUTTGART, Germany — In the late 1990s, the Stuttgart State Opera in Germany raised some eyebrows and hackles when it divided the four operas in Richard Wagner’s epic “Der Ring des Nibelungen” among four directors, one installment each.That was a major break with tradition: “Ring” cycles had traditionally been the work of a single directorial vision since Wagner himself supervised the first complete staging in 1876. It even became common to refer to a given production as “Patrice Chéreau’s ‘Ring’” — or Harry Kupfer’s, or Robert Lepage’s.But Stuttgart’s experiment was a critical and popular success, and the company is now taking that venture one step further. Each of the three acts in its new production of “Die Walküre,” the second opera in Wagner’s tetralogy, which opens on Sunday, has a highly different staging, each devised by a different creative team.Three unrelated interpretations, overseen by three groups of directors and designers, performed by one cast and one orchestra, for a single audience. Cornelius Meister, the company’s music director, said the term used in-house to describe the situation is “multi-perspectival.” But it’s also been a grand juggling act, with overlapping rehearsals, many rounds of costume fittings and a mounting air of suspense, with the company only getting a clear sense of how — or if — the acts might coalesce at the first full dress rehearsal, two weeks before the premiere.The company’s general director, Viktor Schoner — who arrived in 2018 and brought in Meister and the dramaturg Ingo Gerlach — said that the approach was “no big deal,” citing the longstanding practice in the dance world of combining a cluster of unrelated ballets into one evening.“Diversity is a topic of our time,” he said. “So we decided to ask different people.”“Walküre,” perhaps alone among the “Ring” operas, is well-suited to the approach, Schoner said. Each act tells a distinct (if connected) story, typically featuring scenes for two singers — allowing ample room for interpretive imagination.In Act I, directed by Pauline Kalker of Hotel Modern, the characters are recast as rats that have survived a calamity.Martin SigmundAct I is being staged by Hotel Modern, a Dutch theater company known for productions featuring scale models and animation sequences. The group is projecting live film — of a tiny, destroyed world — onto a rear-stage screen, as a way to dramatize the story of Sieglinde and Siegmund, passionate lovers as well as (initially unbeknown to them) fraternal twins, whose child, Siegfried, the title hero of the cycle’s third opera.Pauline Kalker, the member of the group’s artistic trio who has taken on directing duties for the act, said she saw the towering filmic set as “moving paintings.” The self-conscious, high-concept design intermingles grip-like technicians onstage among the singers. Hotel Modern recasts the characters as rats that have survived a calamity, and the singers occasionally wear and carry rat masks, while the film sequences recount scenes of devastation and brutality. Gerlach, the dramaturg, who acted as a liaison between the company and the three creative teams, said that the film was intended as the visual equivalent of “backup vocals.”The German lighting designer Urs Schönebaum, a frequent collaborator with Robert Wilson, is responsible for Act II. Here, Schönebaum uses lighting effects and a dark palette to dramatize the conflicts between Wotan, the chief of the gods; his outraged wife, Fricka; and his beloved but defiant daughter Brünnhilde. Schönebaum said that “lighting is part of the set,” and has come up with what Gerlach called “a refined visual approach” that is realistic compared with the other two contributions.The German artist Ulla von Brandenburg, who is based in Paris, is the creative force behind Act III, in which Brünnhilde’s Valkyrie sisters try to protect her from Wotan’s wrath. Von Brandenburg, known for using bright textiles in her videos and installations, has created multicolored, ever-shifting sets fashioned out of the same painted cotton that she has used for the costumes.Stuttgart has a huge off-site rehearsal facility, equipped with two halls the same scale as its theater’s main stage. Schönebaum, whose act requires exceptionally precise lighting, had to divide up crucial access to the real stage with the other teams, leading to a schedule that he called “extremely tight.”Brian Mulligan, the American baritone singing Wotan, appears in two of the three acts, and consequently had around 15 shoe, wig and costume fittings. (He said a fraction of that would be closer to the norm.) Even Schoner, who settled on dividing up “Walküre” in fall 2020, admitted it was a challenge choreographing a curtain call that would accommodate the three teams.Goran Juric, the Croatian bass who sings Hunding, Sieglinde’s brutish husband, worried that the evening might be “kind of schizophrenic for the audience.” That concern also arose among the company’s management. Siegmund’s sword is an important prop in all three acts, and early in the planning, Gerlach suggested that the same sword remain as a kind of Wagnerian leitmotif through the evening; that idea was rejected. Nevertheless, he said in an interview not long after the first dress rehearsal, continuities have emerged “without being planned by us.”Hotel Modern’s Act I film, for example, has a post-apocalyptic feel, including scenes of toylike cities apparently destroyed by war — images that echo in Schönebaum’s Act II, which ends with a dimly lit battle and a stage littered with corpses.The German designer Urs Schönebaum is responsible for Act II, marked by lighting effects and a dark palette.Martin SigmundThe opera itself ends with the disobedient Brünnhilde put to sleep by Wotan in a circle of fire, which von Brandenburg and her co-director, the French actor Benoȋt Résillot, render with a ring of LED lights that encases a body double floating above the rear of the stage. Using an elegant lighting effect, recalling the style of Act II, in the same spot and on the same scale as the film of Act I, the image serves — if coincidentally — to unify the production.The singers have also done their part to make connections. Though the opera has been reconceived, in effect, as three one-acts, Mulligan said he was making an effort to create a unified character.“I do similar gestures to remind the audience who I am,” he says, including holding his spear in Act II and Act III in a similar way.In keeping with what now amounts to a Stuttgart tradition, the other three “Ring” operas in this new cycle will each have different directors. “Die Walküre” arrives some five months after the company’s “Das Rheingold,” which got a circus-trash staging directed by Stephan Kimmig, starring Juric as a glam-rock Wotan. The new “Siegfried” is borrowed from the old cycle and directed by Jossi Wieler, while “Götterdämmerung,” directed by Marco Storman, will premiere in January 2023. Then, over the course of five days that April, audiences will be able to put all the pieces together.Meister said that Stuttgart is ready for the task. The 42-year-old conductor — who said he actually appreciated the convenience of simultaneous rehearsals in the off-site space, allowing him to dip in and out of different acts — has been jostling “Die Walküre” duties with Zoom meetings about the new production of Wagner’s “Tristan und Isolde” that he is leading this summer at the Bayreuth Festival.Jostling of a different sort is to come at the “Walküre” premiere, when he will be joined onstage by a dozen or so members of the three creative teams for a communal curtain call set to number about 50. More

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      For This Opera Director, a Lot Is Riding on a ‘Handmaid’s Tale’

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      For her English National Opera debut, the company’s new artistic leader, Annilese Miskimmon, has chosen a work she hopes can bring in a new audience.LONDON — Annilese Miskimmon, the British opera director, looked tired and frazzled when she appeared on a recent video call. She was taking a short break from rehearsing “The Handmaid’s Tale” — the first production at English National Opera she is directing since taking over its artistic leadership in the middle of the pandemic. Those rehearsals had not been running smoothly, Miskimmon said, and had been hit by a recent surge in coronavirus cases in England. For a few weeks, the production had been rehearsing partly online.“This is Zoom stress more than opera stress,” she added, with an awkward laugh. She had already canceled two nights of the run, which now consists of just four performances, from April 8 through Apr. 14.Miskimmon said she chose “The Handmaid’s Tale” for her English National Opera debut because the company was founded on the idea of “opera for everyone.” The novel it is based on, by Margaret Atwood, is well known here, and its popularity has only grown thanks to the recent TV adaptation. Both of these, and the opera, by the Danish composer Poul Ruders, imagine a near future in which women are seen as little more than birthing machines. The story felt politically urgent, Miskimmon added. “Every day it’s getting more and more dangerous in some parts of the world to be a woman,” she said.A rehearsal for English National Opera’s produciton of “The Handmaid’s Tale.” The production’s run, which begins April 8, has been cut to just four performances.English National OperaFor opera watchers, Miskimmon’s decision to start with a dystopia may seem appropriate. In recent years, English National Opera has been hit by crises both real and imagined. Those have included funding cuts and resignations, as well as complaints about a dwindling number of performances each season. To raise revenue, the company — which only performs in English — now rents out its West End home, the Coliseum, to musical productions each summer.Miskimmon’s 2019 appointment was a surprise. The announcement came shortly after the American director Daniel Kramer resigned as the opera’s artistic director, two weeks after announcing his second season. Kramer had a never held a senior position at an opera house before joining the company, and many critics felt he wasn’t up to the job.Hugh Canning, an opera critic for several British newspapers, said he was “puzzled” that Miskimmon had left a job running the well-funded Norwegian Opera and Ballet in Oslo to take up the reins at English National Opera, also known as ENO. “Maybe she enjoys controversy,” he said.Others in Britain’s opera world agreed that Miskimmon had taken on a tough job. “Running any opera house is hard, but ENO is even harder,” said Gus Christie, the executive chairman of the Glyndebourne opera festival. As London’s “second” opera house, ENO was always competing for audiences with the much-better funded Royal Opera House, just a few blocks away, he added. (The British government gives the Royal Opera House about $32 million a year; ENO gets around half as much.)“If she can turn things around there, hats off to her,” Christie said.John Allison, the editor of Opera magazine, said that Miskimmon had gotten off to “a very good” start. During the coronavirus pandemic, she kept things at ENO moving when most British opera houses were shut, with a series of original ideas that raised the company’s profile. Those included a drive-in staging of Puccini’s “La Bohème” (featuring breakdancers and ice cream trucks), a made-for-TV performance of Mozart’s “Requiem” and a community outreach program in which ENO singers offered vocal lessons to people whose breathing had been affected by Covid.But most of the productions in Miskimmon’s first season had been planned before her arrival, including a staging of Wagner’s “Die Walküre” that will play at the Metropolitan Opera in New York in 2025. “A lot is riding on this ‘Handmaid’s Tale,’” Allison said. “It’s her first big calling card.”The opera opens in the year 2195, with a lecturer describing the horrors of the Republic of Gilead, a theocracy in which women have no rights and where “handmaids” are forced to bear children for the ruling class.Annemarie Woods, the production’s designer, said that the creative team had researched totalitarian systems and thought about how artifacts of those regimes and their atrocities were preserved. The Coliseum’s stage will look like an exhibition space, Woods said, with items of clothing — including around 50 of the handmaids’ famous red hooded cloaks — suspended and lit like items in a Holocaust museum. Other “exhibits” will include a chunk of a wall where handmaids are executed, displayed like segments of the Berlin Wall.Kate Lindsey, an American mezzo-soprano who plays Offred, the opera’s main character, said she was enjoying rehearsing with Miskimmon, who “made every effort for people to have a voice in the room artistically.”“That’s a real sign of a confident director, and a really, really confident leader,” Lindsey said.Miskimmon said she wanted to turn ENO into a “truly national company” that collaborates with regional opera companies to stage major productions. Tom Jamieson for The New York TimesMiskimmon’s route to the heights of British opera is far from typical. Born in 1974, she grew up in Bangor, a small town outside Belfast, Northern Ireland, during the sectarian conflict that is known as “the Troubles.”She saw her first opera at 10 years old, when her father performed in an amateur production of Mozart’s “The Magic Flute” in a church hall. It was a distinctly lo-fi production: Her father’s costume for the role of Papageno was “a flat cap and some pan pipes on a string around his neck,” Miskimmon said.Yet Miskimmon soon fell hard for the art form. As much as opera was an escape from the violence of the Troubles, part of its appeal was that it also somehow reflected them, she said: At the time, Northern Ireland was a place where people didn’t feel they had much control over their destiny, since they could “go out for an ordinary day’s work, and be blown up.” In opera, Miskimmon said, “the characters are relentlessly driven toward heaven and hell,” without much agency, either. It felt “a much more honest, artistic representation of life.”At Cambridge University, where she studied English literature, Miskimmon directed some student productions. But she never thought she would become a professional director, she said, until she was invited to assist the British director Graham Vick at Glyndebourne. After working on seven productions there, she landed a job as the artistic director of the Opera Theater Company, Ireland’s national touring opera, before eventually moving to the Danish National Opera in Aarhus, and, later, the Norwegian Opera and Ballet in Oslo.Andrew Mellor, an opera journalist who specializes in the Nordic countries, said that Miskimmon was successful in Denmark, with several innovative productions that became talking points. Her take on Mozart’s “Così Fan Tutte” in Aarhus offered audiences two productions — one traditional, one contemporary — and began each night with a vote to decide which would be staged. Equally attention-grabbing was an opera Miskimmon commissioned there called “Brothers,” about Danish soldiers dealing with post-traumatic stress after fighting in Afghanistan.Her time at Oslo was more “turbulent,” Mellor said. The Norwegian company’s music director, Karl-Heinz Steffens, left before Miskimmon even started, and she “had a fight with its ensemble system” when she wanted to use more guest singers, Mellor said. Amid the conflict, Miskimmon staged several acclaimed productions, including one of Britten’s “Billy Budd” that featured a huge submarine onstage.“She’s no shrinking violet, and when she has an idea she pursues it,” Mellor said.Miskimmon said her “memories of working in Oslo are not ones of turbulence,” and added that, in her opinion, it had been “a very positive working experience.”Whatever happened in Norway, Miskimmon’s experiences of dealing with tough situations will hold her in good stead for her role at ENO, especially given the challenges the company has ahead.At the end of March, the company canceled a production of Michael Tippet’s “King Priam” that had been set to run in the 2022-23 season. Ella Baker, an ENO spokeswoman, said in an email that this was “with financial prudence in mind,” given the ongoing impact of the pandemic.The company also faces perhaps more significant financial challenges. Over the past year, Britain’s government has focused on a program called “leveling up,” designed to boost the fortunes of areas outside London. Although “leveling up” includes all sectors of Britain’s economy, arts funding has been a particular focus. Government subsidies for London-based arts organizations like ENO are set to be cut by a total of 15 percent later this year, so more money can be spent elsewhere. The government has said that some organizations may lose their funding entirely.Allison, the Opera magazine editor, said some British lawmakers have “always had ENO in their sights,” because funding opera is thought to be bad at the ballot box. With the Royal Opera House more prominent, ENO had “always looked vulnerable,” he said.During the hourlong interview, Miskimmon did not seem concerned by that threat, insisting that ENO already had plans to present more work outside London. Since starting at the company, she said she had been discussing how to turn ENO into a “truly national company” that collaborates with regional opera companies to stage major productions.Miskimmon added that she had a favorite saying: “A ship is safe in harbor, but that’s not what ships are for.” She had repeated the adage so many times at ENO, including in rehearsals for “The Handmaid’s Tale,” that people must be getting sick of it, she said. But it suited her vision for the company, she added.“It’s about art, and it’s about life,” Miskimmon said. “We’re prepared to take big steps forward, because that’s what opera needs.” More

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      Lise Davidsen and Nina Stemme Star in ‘Elektra’ at the Met

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      At the Metropolitan Opera, Nina Stemme and Lise Davidsen are a blazing pair as sisters in a revival of Strauss’s work.Behind the glorious excess of Strauss’s “Elektra” — the libretto’s mythic setting, the score’s unsparing terror — is something smaller: a starkly framed family portrait, albeit one knocked off the wall and scratched up by shards of shattered glass.That has always been at the core of Patrice Chéreau’s production, which returned to the Metropolitan Opera on Friday night. But in this revival, you could home in even closer to just its two sisters, antipodal soprano roles sung by Nina Stemme and Lise Davidsen with floodlight luminosity and painfully human sensitivity.Chéreau’s staging, which premiered at the Aix-en-Provence Festival in 2013 before coming to the Met six years ago, doesn’t seem to have aged a day. And it’s difficult to imagine that happening soon with a placeless production that suits the timelessness Sophocles’ classic tragedy — which Hugo von Hofmannsthal adapted into a play for the age of Freud, then into a libretto for Strauss’s opera.The set, by Richard Peduzzi, is the grand and severe courtyard of the vaguely Mediterranean home of a vaguely elite family in vaguely contemporary dress (designed by Caroline de Vivaise). Where the production gets more specific is in its departures from the libretto: its absence of caricature and villainy, its climactic dance of death instead a scene of stillness and life continuing in agony. Mostly bloodless where it could be a massacre, it is a study of a family irreparably fractured by trauma.This concept demands singers who can truly act. And Stemme rises to meet it, if not always in voice then in dramatic intensity, which has only grown since she sang the title role in the Chéreau production’s first outing at the Met. She is never at rest: rocking as she stares straight ahead, her eyes wide open with laser focus on avenging her father, Agamemnon.When Stemme sang of his death — a murder committed by Elektra’s mother, Klytämnestra, and her lover, Aegisth — her voice didn’t always cooperate, especially at the low end of her range. At times she visibly braced herself for the role’s most punishing outbursts. Yet she delivered them as if with dragon’s breath, matched only by passages of aching delicacy.Davidsen, as Elektra’s sister Chrysothemis, gave her best performance at the Met this season — able to show a fuller range than in Wagner’s “Die Meistersinger von Nürnberg” last fall, and more in control of her immense instrument than during a recent run of Strauss’s “Ariadne auf Naxos” and a benefit concert for Ukraine, in which she sang that composer’s “Four Last Songs.” Typically a better actor through her voice than her physicality, here she carried as much character on her sorrowful face as Stemme did in her eyes.Relaying the news that her brother, Orest, had died, “thrown and trampled by his own horses,” Davidsen let out a chilling wail — not for the last time in the evening. Originally trained as a mezzo-soprano, she has a full-bodied lower range that is just as thrilling to witness as her candescent high notes, and a commanding softness in more conversational moments.She and Stemme were supported throughout by a Met Orchestra in excellent form under the baton of Donald Runnicles, whose reading of the score was sensitively aligned with that of Chéreau. The opera has sounded scarier and more chaotic — its blood bath met with bombast in many interpretations — but Runnicles insisted on the possibility of dramatic momentum at a more restrained scale. And the evening was no less exciting for it; if anything, it was riveting in its revelatory transparency, the layers of expressionistic color, sweetness and Wagnerian abundance stacking in counterpoint or weaving in and out of one another with grace.There were standouts elsewhere — Hei-Kyung Hong as an authoritative and rending Fifth Maid — but also lapses among the principals. Michaela Schuster’s Klytämnestra was one of obvious gestures and a strained voice, which she occasionally sought to salvage with near-Sprechstimme declamation. Chéreau’s production hinges on a sympathetic Klytämnestra; she didn’t quite achieve that. And men were shadows of their past appearances. Greer Grimsley’s resonant bass-baritone was here faded and effortful, and not always easy to follow. As Aegisth, Stefan Vinke was barely audible — an upsetting turn for a tenor who has sung roles like Siegfried, perhaps barking but at least with penetrating power.You couldn’t help but feel bad whenever they sang alongside one of the starring sisters. Which is always: Stemme never leaves the stage. It is, after all, her show — and, for this run, Davidsen’s, too.ElektraThrough April 20 at the Metropolitan Opera; metopera.org. More

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      Anna Netrebko Faces Backlash in Russia After Attempt to Distance Herself From Putin

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      The star soprano Anna Netrebko lost work in the West over her ties to the Russian president. Now, following an about-face, she has been called a traitor at home.The Russian soprano Anna Netrebko, one of opera’s biggest stars, faced backlash on Friday in her home country after she tried to distance herself from President Vladimir V. Putin amid his invasion of Ukraine.Ms. Netrebko issued a statement on Wednesday that appeared to be an attempt to revive her international career, which has crumbled recently because of her past support for Mr. Putin. In the statement, she condemned the war and said she was not allied with him.In Russia, where Ms. Netrebko has a large fan base, her words were met with criticism. She was denounced on Friday as a traitor by Vyacheslav Volodin, a senior lawmaker who has been an outspoken critic of artists who oppose the war.“You can’t call it anything other than betrayal,” Volodin wrote on his Telegram channel. “There is a voice, but no conscience. The thirst for enrichment and glory outweighed the love for the motherland.”And the Novosibirsk Opera and Ballet Theater in Siberia canceled a coming appearance by Ms. Netrebko, saying she seemed more interested in her global career than “the fate of the motherland.”“Today is not the time to sacrifice principles for more comfortable living conditions,” the house said in a statement on its website. “Now is the time to make a choice.”Ms. Netrebko could not immediately be reached for comment.Since the war started, Ms. Netrebko has faced a wave of cancellations around the world because of her ties to Mr. Putin. Her performances at the Metropolitan Opera — where she had sung for 20 years and become its prima donna — have been canceled indefinitely. Other leading opera houses, including in Munich and in Zurich, have also scrapped coming engagements.In her statement this week, Ms. Netrebko sought to distance herself from Mr. Putin, saying that they had met only a few times. “I am not a member of any political party nor am I allied with any leader of Russia,” she said, describing herself as a taxpayer in Austria, where she now resides.While she condemned the war in Ukraine, she did not explicitly criticize Mr. Putin, and did not directly address her record of support for him.It remains unclear whether she will succeed in reviving her career. The day she issued her statement, the Paris Opera announced that she would star in a production of Verdi’s “La Forza del Destino” this fall. (Alexander Neef, that house’s director, said in a statement on Wednesday that the company was evaluating the situation.) The Met responded by saying it was not prepared to change its position; Peter Gelb, its general manager, said, “If Anna demonstrates that she has truly and completely disassociated herself from Putin over the long term, I would be willing to have a conversation.”Ms. Netrebko once endorsed Mr. Putin’s re-election and has over the years offered support for his leadership. In 2014, she was photographed holding a flag used by Russia-backed separatists in Ukraine. In her statement this week, she said, “I acknowledge and regret that past actions or statements of mine could have been misinterpreted.”Now, she risks becoming persona non grata in her homeland and abroad.“She’s damned if she does, damned if she doesn’t,” said Simon Morrison, a professor of music at Princeton University who studies Russia. “She’s canceled for her years of pro-Putinism, then she critiques the war to save her international career, and then gets castigated at home for caring more about her gigs than ‘the fate of Russia.’”Ivan Nechepurenko contributed reporting. More

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      Paris Opera Director Alexander Neef Broadens Its Repertory

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      Alexander Neef plans an innovative approach to keep audiences happy, even as he works to stem financial losses.To have taken over as director of the Paris Opera one year earlier than planned, just as the longest strike in the company’s history was morphing into the worst global pandemic in a century, might reasonably have rattled Alexander Neef.But if it did, he doesn’t show it. This German impresario, who dresses with elegance and speaks with care, is not, shall we say, operatic in his manner.In fact, even at the suggestion that he was offered a poisoned chalice when he took over in 2020, Mr. Neef, 48, did not take the bait. “It hasn’t been a bad ride,” he said in a video interview. “In the end, you accept and then you assume.”One reason that he was perhaps not unnerved by the challenge was that he had already worked at the Paris Opera, as casting director for the director Gerard Mortier from 2004 to 2008. “A lot of the staff was there when I was last there, and people had some kind of idea who they were dealing with,” he noted.But another reason was that, faced with the cancellation of hundreds of performances, the French government stepped in with an enormous package of emergency aid worth 86 million euros, or nearly $95 million. And it was no small asset that Mr. Neef was chosen for the job by President Emmanuel Macron himself. “A lot of my colleagues who were appointed by him feel that there is an investment in our success,” Mr. Neef said.Mr. Neef attending the inaugural concert by Paris Opera’s music director, Gustavo Dudamel, at the Palais Garnier in September.Pascal Le Segretain/Getty ImagesStill, when it comes to opera managers, there is no consensus on how to measure success. Are they applauded for using their fund-raising skills to help balance the books? Are they remembered for putting on large productions featuring star performers with little concern for the cost? Clearly audiences are more interested in what takes place onstage than in the vagaries of opera house budgets, but just as clearly, they are related.For the public, then, the least exciting aspect of Mr. Neef’s strategy is to stem the Paris Opera’s losses by the 2024-25 season, by which time emergency government support will probably no longer be provided. With this in mind, and with about 250 of the 1,500 members of the company’s staff expected to retire by 2025, he said he hoped not to have to replace them all, thereby saving 50 to 100 salaries.But how its limited resources are used also serves to determine an opera house’s standing. And here again, Mr. Neef has some innovative, albeit simple, ideas. For instance, he prefers not to have the Paris Opera’s two large theaters — the Palais Garnier and the Bastille Opera — resemble “permanent festivals,” with splashy productions that are never revived.“Every one of my predecessors produced a new ‘La Traviata,’ which is rather unusual because that means a new ‘La Traviata’ every five years,” he said. “I think the strategy is that we create a ‘La Traviata’ we can keep for a longer period, and in that case we can create many other things that are not in our repertory.“Now we’re rehearsing Massenet’s ‘Cendrillon,’ which has never been in the Paris Opera repertory,” he went on, “or we’re doing Bernstein’s ‘A Quiet Place’ for the very first time. It’s not about being cautious, it’s about broadening the repertory and not investing in a production that you do once and never again.”That approach was apparent this season, Mr. Neef’s first, which ends in July, and in the 2022-23 season, which he announced this week. It also embraces an interesting change in emphasis wrought by the Covid-19 pandemic.“Over the past few decades,” he said, “there has been a transfer of power from the institution to the audience, which has been reinforced by the pandemic. I think audiences have a much larger awareness today that we need them. We need them as ticket-buyers, as donors and as citizens who are convinced that an organization like the Paris Opera has a role to play.”But pleasing audiences is no easy task. “I always say that we have 2,700 seats at the Bastille and we have 2,700 audiences every night,” he said, adding that what counts is how people interact with the production. “I think indifference is our biggest enemy, because when people are bored at the opera or they don’t really know why they came, that is way more dangerous than a strong negative reaction.”As it happens, experience shows that Paris audiences quite often heckle directors and designers, while the reaction to lead singers can go from polite applause to wild, cheering enthusiasm. And the talent of the singers seems to count more than their fame, which is no doubt lucky because, as Mr. Neef noted, “it’s not what it used to be 20 years ago when you could literally rely on certain names to fill the theater.”Anna Netrebko as Donna Leonora in “La Forza del Destino” in London in 2019. She is scheduled to sing the role next season in Paris.Bill CooperOne name that has traditionally sold tickets is that of the Russian soprano Anna Netrebko, who has been excluded from the Metropolitan Opera of New York for two seasons for not repudiating President Vladimir V. Putin following Russia’s invasion of Ukraine. In the published 2022-23 season of the Paris Opera, however, Ms. Netrebko is still down to sing the role of Donna Leonora in “La Forza del Destino” in December.“We printed the program before the invasion, and we’ll evaluate the situation between now and November to see if it’s possible for her to appear or not,” Mr. Neef said. “It’s a tricky situation. It’s not the government’s position, and it’s certainly not my personal position now, to go to all or certain Russian artists and say, if you don’t publicly denounce the situation, we cannot work with you.”As it happens, a production of Mussorgsky’s “Khovanshchina” with a largely Russian-speaking cast ended its Paris run six days before the invasion, while lead singers in a production of Mozart’s “Don Giovanni,” with performances during the first three weeks of the war in Ukraine, included two Russians, one Ukrainian, one Belarusian and one Romanian. “I think most of them felt they didn’t know exactly what was going on and they’d like to be invisible,” Mr. Neef said.Mr. Neef has a five-year appointment as director of the Paris Opera with the possibility of a second similar term, so any discussion of his legacy is wildly premature. But it could include an initiative he is planning for next season: Taking his inspiration from many German opera houses, he plans to create a troupe of 15 to 20 professional singers who will be on salary (and not work as freelancers, as most soloists do) and will take on all but the biggest roles.Mr. Neef said he believed that greater job stability had become more appealing to cast members over the past two years. “There’s a lot of interest in being resident in one city,” he said, “either because you have a family, or the attraction of going to a new city every few weeks is not as high as it used to be.”So, just as some lead dancers in the Paris Opera Ballet Company have fan clubs, it may not be long before once-unknown members of the new troupe have an ardent following of their own. More

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      Paris Opera Plans New Productions of Strauss and Britten

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      Human complexities to take center stage in new productions of classics, including works by Strauss and Britten.PARIS — There is never anything very normal about opera. After all, no other art form demands such extreme suspension of disbelief. But after the disruptions caused by strikes and the Covid-19 pandemic, normality is the cherished goal of the Paris Opera as it unveiled its program for the 2022-23 season this week.“An unwelcome guest in our lives, the pandemic has reminded us just how ephemeral and fragile all life is,” Alexander Neef, the opera company’s director, wrote in a news release introducing the season. “Yet by upsetting time and our certainties, it has made the same life more valuable.”Quoting Falstaff in Verdi’s eponymous opera, “tutto nel mondo è burla” (“all the world is a farce”), he added: “I know of no better antidote to instability than to embrace life. And what better way to do so, at the opera, than by bringing meaning and poetry.”One delight of opera is that a poetic libretto penned a century or more ago can assume fresh meaning with each new production: Audiences know the story line but not how it will be interpreted.The baritone Ludovic Tézier at a classical music awards ceremony last year in Lyon, France. He is to perform as the Danish prince in Ambroise Thomas’s “Hamlet.”Jeff Pachoud/Agence France-Presse — Getty ImagesFor the upcoming season, which opens Sept. 3 with a reprise of Pierre Audi’s production of “Tosca,” Mr. Neef has scheduled a rich array of operas, including new productions of Richard Strauss’s “Salomé,” with the South African soprano Elza van den Heever in the title role; Benjamin Britten’s “Peter Grimes,” with Deborah Warner making her Paris Opera debut as a director; and Ambroise Thomas’s “Hamlet,” with the French baritone Ludovic Tézier as the Danish prince.In a new production of Charles Gounod’s “Roméo et Juliette,” France’s new favorite tenor, Benjamin Bernheim, will share the role of Roméo with Francesco Demuro, while Elsa Dreisig and Pretty Yende will alternate as Juliette. This opera, scheduled for next summer, will offer an interesting contrast to “I Capuleti e I Montechhi,” Bellini’s version of the same story, albeit borrowed from a different source, which is to be presented this fall.The Bellini opera is just one of three next season to be directed by the Canadian Robert Carsen. His acclaimed production of “Die Zauberflöte” will return in September, with the powerful German bass René Pape sharing the role of Sarastro with Brindley Sherratt and Ms. Yende alternating with Christiane Karg as Pamina. Mr. Carsen, whose celebrated 1999 Paris Opera production of Handel’s “Alcina” returned here during the current season, will now also direct the same composer’s “Ariodante.”One production the Bastille Opera revives with some regularity is Peter Sellars’s celebrated version of Wagner’s “Tristan und Isolde,” much of which is set against the backdrop of a powerful video by Bill Viola, with his trademark images of water, fire and nakedness. With Gustavo Dudamel, the Paris Opera’s new music director, conducting, Mary Elizabeth Williams will be Isolde to Gwyn Hughes Jones’s Tristan.Renée Fleming is scheduled to sing the role of Pat Nixon in a new production by Valentina Carrasco of John Adams’s “Nixon in China.” Sara Krulwich/The New York TimesThe season will also note two anniversaries. This year’s 50th anniversary of President Nixon’s bridge-building trip to Beijing will be recalled in a new production by Valentina Carrasco of John Adams’s “Nixon in China,” with Thomas Hampson as the American leader and Renée Fleming as his wife, Pat.The other production, “The Dante Project,” which premiered in London last October, is a ballet by Wayne McGregor to a score by the contemporary opera composer Thomas Adès. It is inspired by last year’s 700th anniversary of the death of Dante, the poet-author of the “Divine Comedy,.”Just as Puccini will be present with “La Bohème” as well as “Tosca,” Verdi is no less a must in every opera season, here represented by two revivals. “La Forza del Destino” is an austere production by Jean-Claude Auvray, with Anna Netrebko and Anna Pirozzi sharing the role of Donna Leonora, Russell Thomas as her lover Don Alvaro and Mr. Tézier as her vengeful brother Don Carlo di Vargas. The second, “Il Trovatore,” another stirring tragedy, returns in a production set around World War I by Àlex Ollé of the Catalan company La Fura dels Baus.The furious pace of 24/7 news today certainly tests directors hoping to give a current edge to operas composed decades or centuries ago. But for Mr. Neef, when productions are inspired by the works of great authors, from Shakespeare to Oscar Wilde, there is something unchanging in the way they “all delve into human complexities, the subtleties of consciousness and the tensions between the sexes and generations.” More

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      Review: Michel van der Aa’s ‘Upload’ Asks Old Questions With New Technology

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      Michel van der Aa’s work, a seamless interweaving of opera, film and motion-capture performance, arrives at the Park Avenue Armory.“I am certain that you exist,” a daughter tells her father, only to reconsider: “I am certain that you do not exist.”Her ambivalence is understandable. The question of what it means to be human — to exist — is an old one, and, arguing with her father, this woman is not about to find an answer. Only more questions, which accumulate at a breakneck pace in Michel van der Aa’s “Upload,” a seamless interweaving of opera, film and high technology that had its American premiere at the Park Avenue Armory on Tuesday.This work would seem to contain more than it possibly could in its 85 minutes: a tutorial-like explanation of how a clinic offers immortality by backing up consciousness to the cloud, one man’s journey through that process and his daughter’s conflicted response as he returns to her — no longer alive but, well, not dead. Throughout, the score shifts among electronic and acoustic sounds, just as the production moves between — and occasionally collides — live performance, prerecorded scenes and motion-capture technology.But van der Aa, an artist of big swings, operates here as composer, librettist and director with the restraint of a confident master. In a way that hasn’t always been the case with his works marrying novelty and tradition, there is no dazzle in “Upload” that isn’t closely tied to the dramaturgy.Bullock plays a daughter coping with her father’s new life as consciousness uploaded to the cloud, over scenes that shift between film and live performance.Jeenah Moon for The New York TimesThis is the third version I’ve seen, starting with a solely cinematic one that premiered online last summer. European audiences can stream it at medici.tv; Americans will be able to do the same starting April 1.The “Upload” film made trims to the score that focused its storytelling and had editing that more clearly separated the piece’s use of different media. It’s effective, though much less affecting than the proscenium presentation at the Dutch National Opera last fall, which restored the introduction — poetic fragments of phrases about the body, sung like plainchant in the dark — and an intimate coup de théâtre at the climax.Van der Aa’s creative team has been a constant, among them the dramaturgs Madelon Kooijman and Niels Nuijten, and Theun Mosk, who designed the smoothly integrated set and lighting; Tom Gelissen and Paul Jeukendrup, the nimble sound; and Darien Brito and Julius Horsthuis, the Hollywood-level special effects.Further tweaks have been made for the Armory’s capacious drill hall. Particularly striking now is that climactic move, an audience-spanning screen that was closer than in Amsterdam — a low ceiling — and more immersive. (But from Row G, it also made my craning neck hurt.)Williams, left, in a scene that blends live performance with film, featuring Ashley Zukerman as a Silicon Valley-like chief executive.Jeenah Moon for The New York TimesThat moment delivers a wash of patient quiet and humanity after 80 minutes of brisk drama. “Upload” has elements of the darkly speculative series “Black Mirror” and the comparatively hopeful “Years and Years,” but its preoccupations are as timeless as they are the finest genre fiction.Not that “uploading” is fully fictional. It is our future and present: an already stated ambition to upload consciousness to a decentralized blockchain, prefigured by the traces of ourselves we already deposit throughout the internet — our images and inner thoughts slowly building what the clinic of “Upload” (shot at the modernist Zonnestraal sanitarium in the Netherlands) would call a Mind File for our digital afterlife.How that file is created is detailed in filmed sequences starring Ashley Zukerman (“Succession”) as a stereotypical Silicon Valley type, hubristically enthusiastic and uninterested in waiting for government regulation, and Katja Herbers (“Evil”), as an empathetic psychiatrist who also has a streak of overconfidence. The technology is available only to a privileged few, the kind of people who would fly to space recreationally. Or, here, buy eternal life at the cost of death — to avoid the complications, both ethical and ecological, of multiple uploads.For these scenes, van der Aa writes less of an opera score and more of a soundtrack, uneasy yet excited, with jittery strings, chaotic percussion and electronics that warp into crackling white noise — all played, with propulsive momentum, by Ensemble Musikfabrik, under Otto Tausk’s committed and commanding baton. Van der Aa’s music takes on a different style, though, for scenes featuring the work’s two singing roles: the unnamed father and daughter.We meet them — the baritone Roderick Williams, delicate and ever sympathetic, and the soprano Julia Bullock, silvery at the top of her range, equally at ease in pop directness and lush lyricism — after he has been uploaded, without her knowledge. Their interactions have the naturally rhythmic vocal writing of Janacek or Debussy. Left alone, she tends to be accompanied by more traditional sounds, such as a piano or strings, while the father’s musical vocabulary is firmly, irreversibly electronic.Bullock with Williams, who, as an uploaded consciousness, is shown onstage through motion-capture technology.Jeenah Moon for The New York TimesTheir thread of the plot has a short story’s simplicity: She scrutinizes his new self, with constantly changing feelings, then has to decide whether to terminate him, to let him die again. That is because something went wrong in the upload process, which ordinarily buries trauma — in this father’s case, the recent, debilitating, loss of his wife.Briefly paused for the first time as an Upload, the father realizes that his grief is still agonizingly present, and that he’s doomed to endure it forever unless he is, well, deleted, which only his daughter can do. The opera leaves them on the night before her fateful decision. When that curtain shoots out over the audience, it shows them in split-screen projection — as if lying together while on separate planes of existence, singing the poetic fragments of the opening, now more pained.The curtain then lifts, revealing a stage from which the orchestra is gone, but electronic music lingers. A video shows the father’s memory anchor, meant to keep an Upload from drifting, unmoored, into digital space. It’s a virtual rendering of a childhood scene, chasing lizards around a stone wall in the countryside, that begins to glitch and degrade, leaving only a white expanse.Is the continuing score, in the absence of an orchestra, a triumph of technology? Does the conclusion depict the father’s deletion — or even the inevitable decay of all digital files? There are no answers here. If van der Aa offers anything, it is a guarantee of death, and of the unavoidably human response: to grieve.UploadThrough March 30 at the Park Avenue Armory, Manhattan; armoryonpark.org. More