Brits blow it again
A drag queen friend of La Cieca’s — long before she was La Cieca — used to have an expression she to describe the terminally inept. The queen would say, “That guy could screw up a blowjob.” By which she meant, of course, receiving a blowjob, i.e., just sitting there, or standing there or whatever.
And so it seems to be with Houston Grand Opera’s new production of the supposedly idiot-proof Tosca, as devised and executed by the All Albion All the Time team of John Caird and Bunny Christie.
According to critic William Albright:
For some reason there are gaping holes in the ceiling of all three… sets (a church, a room in a palace, a prison). Baron Scarpia seems to live or office in a storeroom piled high with wooden crates and augment his police chief’s salary by dealing in black market art objects and cases of wine. Caird’s Tosca doesn’t dramatically leap to her death from the prison roof, she stabs herself in the throat like Puccini’s Madame Butterfly, staggers a bit, and tumbles backward out an open window.
And every now and then a ghostly, barefoot little girl dressed in white appears onstage, apparently to symbolize death, fate, or something. Mostly she just seems to have wandered in from The Lovely Bones.
And pity poor Patricia Racette, whose role debut as Tosca was costumed in “a woefully drab gray ball gown with a huge caboose-like ruffle on the rump.”
Why, La Cieca asks, was the need felt to import a British team when there is an abundance of American directors who could have done just as lousy a job? Where, for example, were James Robinson and Mark Lamos?
So did they do a mix of time periods or did they updated it to the Victorian era? Pat’s dress looks very Victorian and VERY ugly.
I couldn’t agree more with your last paragraph, La Cieca, and to the pair of American directors you cite, I would add at least Thaddeus Strassberger, who directed LES HUGUENOTS at Bard College last summer, and pointedly not add Bartlett Sher.
Now, what, exactly, is wrong with James Robinson?
Have you forgotten the pregnant Lucia di Lammermoor who lived in a corrugated metal bunker where it snowed indoors all the time, with the wedding party made up of equal number of Flying Dutchmen and Brides of Dracula?
Well, if you want to bring up THAT …
Don’t think I was aware of that one, where was that again?
My personal experience with James Robinson, as a supernumerary in his San Francisco Production of L’Elisir, was very positive, so perhaps I’m biased.
La Cieca: That accusation, or at least part of it, seems a little harsh. Wasn’t Mr. Robinson given by NYCO a Soprano who was eight months pregnant by opening night? What could he have done, a woman is going to look pregnant by then!
James Robinson is currently directing Die Entführung aus dem Serail for WNO – Welsh National Opera, I mean, in Cardiff. That’s what’s wrong with him. Or at least why he wasn’t directing Tosca in Houston. John Caird did a so-so Don Carlos – heading Houstonwards soon – and a pretty poor Aida for (our) WNO. Houstonites better just pray they don’t get the Aida. Obviously Mr Freud is a BIG fan.
Take a gander at the ENTIRE Houston season this year, Obviously Mr. Freud believes that ONLY Commonwealth personnel merit hiring. Now, no complaints here about Judith Forst (who has based her career in North America) and Simon O’Neill, but can even the staunchest defenders here of “Oh, hire the best person for the job, I am sure that is what the British administrators in the States are doing” deny that for a North American company’s schedule to be so COMPLETELY dominated by “Our Own” production teams is scandalous?
And can someone remind us of any reason besides his nationality that William Lacey has a US career?
…………..
ELISIR
Producer Annabel Arden
Sets, Costumes Lez Brotherston
Choreographer Leah Hausman
LOHENGRIN
Producer Daniel Slater
Sets, Costumes Robert Innes Hopkins
Lighting Simon Mills
Lohengrin Simon O’Neill
TOSCA
Producer John Caird
Sets, Costumes Bunny Christie
Angelotti Robert Gleadow
TURN OF THE SCREW
Producer Neil Armfield
Sets, Costumes Stephen Curtis
Lighting Nigel Levings
Governess Amanda Roocroft
Prologue/Peter Quint Andrew Kennedy
Mrs. Grose Judith Forst
QUEEN OF SPADES
Producer Richard Jones
Sets, Costumes John Macfarlane
Countess Judith Forst
XERXES
Conductor William Lacey
Producer Nicholas Hytner(original), Michael Walling(revival)
Sets, Costumes David Fielding
Lighting Paul Pyant
In fact, the soprano Jennifer Welch-Babidge was not as far along as that, at least at the performance I saw. In the first act she looked only somewhat zaftig, certainly no more obviously “pregnant” than Ruth Ann Swenson has appeared for most of the past 20 years. In the second act, she removed her heavy robe to stand revealed in a clinging white chemise, and, yes, she had a bump showing. After that, the costuming increasingly emphasized the singer’s abdomen.
It seems to me there were a number of choices available to the director and designer. For example, the line of the later costumes could have been changed to mask Welch-Babidge’s condition, especially given that the production was done in a fantastic, dream-like style anyway, without any clear sense of historical period.
Or the singer’s pregnancy could be accepted as a given. When Alfredo Kraus performed Romeo et Juliette at age 60, the scenario was not rewritten to make the hero a frisky grandfather. The audience was simply asked to suspend their disbelief.
Or, if the singer is just glaringly pregnant, she could be replaced, the same way an artist would not generally be expected to perform with a broken leg (Joyce DiDonato notwithstanding).
The “Lucia is pregnant” angle seemed to me cheap and contrived and besides that not badly carried off. That production was dire on so many levels.
Jennifer Welch-Babbidge was indeed eight months pregnant at the time of the performances at NYCO. The concept of a pregnant Lucia seemed interesting at first and it certainly added to the drama for me, but the production in general was just ugly and nothing else was well thought out beyond “oh my, our soprano showed up 6 months pregnant at the rehearsals, so let’s make it work”. I thought it was courageous of NYCO to keep her and not hire a “non-pregnant” soprano.
Were you unhappy with Strassbergers production at Bard? I am interested. I thought this was an amazing production and had the ability to travel and become part of a repertoire (if Bard did this)! If I am not mistaken Strassberger is still young in his career and when comparision to older directors he is pushing boundaries in the correct direction.
the, er, caboose may be the *least* of that gown’s affronts … the decolletage is practically assaulting racette’s cleavage, and those — what are they, epaulets??? — on the shoulders frame her body in unflattering even-larger-than-life proportions.
poor thing … i hope her breasts recover.
She looks like she’s channeling Dolly Parton and Dorothy Kirsten! Stupid Brits. But she sounds like she’s really in control of what she wants to sing. Why hire Brits in Houston? Look who is the heading the company.
Racette should have insisted that the opera be changed to match the coustumes. They could have rented a fine set of deluxe Italian costumes for far less then it cost them to build these, but then maybe they will recycle them in some British opera.
She seems pretty happy with the design, actually:
“John Caird is a genius, just phenomenal to work with. He puts his finger on the pulse of the piece — telling this story in such a concise and potent way. We’ve got a fantastic cast and gorgeous design. It’s a dreamy pleasure to do this production. I hope everyone on that side of the stage is as thrilled as we are on our side.”
Meh, what does a singer who rehearsed the production know?
Ms. Racette is not only a talented singer, she is a most tactful colleague.
. . . and, as has been pointed out previously, if a singer/participanbt dares to tell the truth, he or she is labeled a malcontent and joins the growing ranks of the unemployed, or worse yet is hired by NYCO.
Yes, extremely tactiful, hardworking, and deserves every success.
Sad. They pushed her boobs up so high it looks like they’re attached to her chin. The ruffles are not the problem, it is her top. Her head is just sitting on top of her boobs and shoulders. The neck line of the dress should be squared and they should tape her boobs down or something (not push them up) and they shouldn’t have put those ribbons on her shoulders.
Ooops – missed your “lousy job” phrase, La Cieca.
I meant to praise some American directors, and Strassberger is the most recent one I’ve liked. I still leave off B.S.
God that costume — “unbecoming” is an understatement. Racette has a big chest — why make it even larger-seeming? She seemed to be singing beautifully, but she did not look comfortable in that ridiculous costume. And no hint of Empire style, or am I being silly to wish for period authenticity.
I long to read more of this production and Pat’s performance.
If the silhouette is meant to be of the 1870s, then for an evening dress the neckline could be wider, exposing more shoulder and therefore pulling some of the attention away from Racette’s full bust.
In La Cieca’s opinion, if the period chosen for a production is unflattering to the performer, it’s the designer’s job to cheat a bit on the details (such as the line of the decolletage) in order to prevent, for example, a handsome woman like Racette from looking matronly.
Old time rule in stage dress: You dress your stars to their
best advantage; they you dress the show around them.
Makes sense to me!
So if a director wants to set Tosca in the period and settings Puccini intended, but his soprano doesn’t look good in Empire gowns, that should be reason enough to force him to set the production in a different period (and subject him to the boos of ‘traditionalists’ at his curtain call)? Doesn’t make sense to me!
Rather to modify the gown a bit (or little more than a bit)…
Well, yes, for example, if we’re talking about Tosca, the “authentic” line would be unflattering on a soprano with a medium or full bust, or for that matter a big chest expansion — and that includes most singers of the role. The “Empire” line seems intended for a very youthful figure, not so different from a current high fashion model:
For a modern adaptation of this line, a costumer would likely use a somewhat heavier fabric that this sheer cotton lawn, a more A-line skirt and a slightly lower waistline, probably tapering even lower in the back. The soft gathering of the bodice would be more controlled, probably as sewn-down tucks. And the sleeve length would likely be longer to cover more of the upper arm.
This costume for Micaela Carosi at the Royal Opera House is an attempt at a modern realization of the light and airy Empire style, though it probably would look better with the volume of the skirt more controlled at the high waist. (Her bust and ribcage are definitely Tosca-sized!)
I think this is an ideal challenge for Project Runway. Instead of using models they each have to create a costume for a different opera singer for her favorite role… production design be damned, a true diva brings her own dresses…
What a great idea, Zerbinetta. I wish Project Runway had thought of this while they were still based in NYC. I’m surprised La Scoopenda didn’t think of it herself, considering that she likes to diversify.
Zerbinetta, Project Runway is back in New York.
Apparently they did an opera challenge on the Canadian version of the show with Measha Brueggergosman (spelling?), where they made her a recital dress. I think costumes would be more interesting than recital dresses, and they should make things for actual singers, not models (and woe to the designer who gets a mezzo who sings trouser roles, most of them whine about having to sew pants). But on the other hand, as Sanford’s comment about today’s concert indicates, some divas really need help when the opera house doesn’t tell them what to wear.
And Sanford, I know PR is back in NYC! (Alas, it will be airing during the first performance of Ariadne the week after next!)
Apropos of nothing herein:
MET Orchestra just gave a lovely perf of Schubert’s Unfinished Symphony, followed by Fraulein Damrau’s lyric soubrette warblings of a group of orchestrated Strauss lieder, e.g., “Amor” — after intermission to be followed by “Grossmaechtige Prinzessin” and —get this — an account of Beethoven’s Fifth.
Talk about Zweite Krautnacht!
Mrs. Rance, I am so relieved to read your correction as I was experiencing some disbelief and discomfort in re Strassberger. Although I did not agree with every detail — the bird in the cage really bugged me — I did think he is one of the more intelligently and well-thought out directorial interpreters I had seen. I wish him well and a lotta luck, ’cause he’ll need it.
Happening @ Carnegie Hall. Now.
More senseless xenophobia toward the British, whose culture Americans not only inherited but also diluted.
I’d trust the artistic integrity and intellect of someone from the land that produced Shakespeare, Blake, Orwell, Wells, Mary Shelley and Virginia Woolf over the land of The Brady Bunch, The Simpsons and McDonald’s happy meals.
BTW, thanks for Simon Cowell, Katherine Jenkins, and Benny Hill.
God Dorian, the way you are carrying on….it seems you think British piss is the finest of champagnes. And THAT superior attitude still pisses everybody off. The British cannot take a joke about themselves. They , too often to be frank ‘don’t think their shit stinks’.And as for using notable people from over a span of 500 years to clout certain developments of the last 50 years: is disingenuious to your argument to say the least. People are sick of the ‘scrounge and grunge’ style mentality coming from Britain masquerading as high Art.
I wish people WERE sick of the “scrounge and grunge” stuff from the British. A notable example for me is the Met’s HANSEL, which is marketed to families, for heaven’s sake. Then there’s all the stuff that comes to Broadway.
The casual xenophobia against Brits here is too tedious to respond to. But if you really think ‘The British cannot take a joke against themselves’ then you’ve obviously missed about 90% of British sit-coms over the past 40 years. Pricking British snobbery and pretentions is theme that runs prominently through everything from Fawlty Towers to the Office.
In this case the xenophobia is not casual but causal: there is every motivation for concern about Freud’s management of HGO when it does seem that he puts Commonwealth status above talent in his hiring.
David: No, it is just the continual ‘war battle’ still going on amongst the British in their self perpetuating class system. Pleading of course, repeatedly that ‘we are just being funny…you see’. What is really amusing is the fact the British just ‘DON’T GET IT!’ They even want to tell us how to see it and… what IT supposedly is!
Well that ‘evidence’ came after your original post La Cieca. If Tosca is ‘idiot-proof’ why did the Met react in near riot to the Brony production? Why is it only ‘idiot-proof’ when the reaction is negative to a British producer? (A producer who has quite an impressive CV of successful productions – this was no notice but somebody with a track-record of delivering theatrical productions – although perhaps less so in opera.)
Looking at the Houston season it looks like the real issue is that Freud has taken so many UK co-productions – three of the six, plus one from Australia (which some commentators here appear to believe is part of the UK). So, there are probably legitimate questions on the reliance on co-productions and whether Freud is casting his net wide enough. But is the fact that on average one singer per opera comes from the UK or commonwealth really cause for such concern? (And half of them are in an english-language opera.)
Harry, you’re right. I don’t get it. I have absolutely no idea what you’re talking about.
You guys also produced Simon Cowell, Marty Feldman, Are You Being Served, etc. You’ve produced your share of low brow entertainment, too, you know. And we’ve produced Henry James, Edgar Allen Poe, Nathaniel Hawthorne, Arthur Miller, Eugene O’Neill, etc, so we’ve produced our share of high brow.
I thought dorion was American? Less of the ‘you guys’ please.
armerjacquino says: “Less of the ‘you guys’ please”.
And enough of this counter ‘slamming’ when people wish to speak their mind and support the work AND THE INFLUENCE of their own artists in their own country without a ‘dump of imports’. Especially so, in cases where one import gets into an administrative position and by using their position : the ‘joint becomes flooded’ with more of their imported friends,
I observe this is what could be called the new form of British ‘colonisation’ through culture since the days of Queen Vicki’s Empire are long gone. . And the U.S is not the only country suffering this form of cultural invasion by the same tactics.
The British expect everybody to shut up with the ‘same stiff upper lip’ they use, since they live under a regime where real free speech is curtailed by silly legal media laws. Fortunately a lot of us live elsewhere and can feel free to call the truth.
But, Harry, where are you from? I always get the feeling you don’t have English as your first language.
You seem to have completely misunderstood my post, Harry. ‘less of the you guys’ didn’t refer to the thread as a whole, merely to sanford’s assumption that dorion was british.
That’s a whole lot of projecting you’ve done there.
British culture…. where Rickets Disease is starting to appear again amongst its population. Rickets of all things!!!……Dorian would call that ‘respect for Dickens – like values’.
Bollocks.
(1)The incidence if Ricketts Disease is in fact re-appearing in Britain if amerjacquino wishes to acquint himself.
Enough of the British disdainful sneer, now.
(2) In Australia they had the Hickox ‘experiment’..Handel, Brtten etc….his wife another ‘import’ shoved into feature roles….Rumblings throughout the Opera Australia. Need I say more. .
I know the story you’re referring to. There’s been a report published from Newcastle University about Vitamin D deficiency, which could lead to rickets in kids. I know about it as a friend of mine is one of the researchers. The deficiency is linked to the fact that children (across the western world) are spending more time playing indoors than out. It’s also particularly noticeable in families who lived in the developing world one or more generations back- the Newcastle research found a high incidence in Somalis, for example- as it also has connections with poor diet. So, thanks Harry, I have no need to ‘acquaint myself’ with anything, as you so patronisingly put it.
What any of this has to do with opera, of course, is another thing altogether
I can’t reply to the later post for some reason, but here’s a reference to rickets in the US:
http://www.thelancet.com/journals/lancet/article/PIIS0140-6736%2805%2973951-9/fulltext
AJ is right when he describes the mechanism by which this is believed to be happening. But it’s happening in the States as well as in Europe so Harry really needs to find a different stick with which to beat the Brits
Dorian, until the worthies that you list become available for engagement by American opera houses, just what is the relevance of your rant?