Banks, Barry


CoqdorNikolai Rimsky-Korsakov - Le Coq d’Or (The Golden Cockerel)

Théâtre du Châtelet, Paris, 2002 | Kent Nagano, Ennosuke Ichikawa, Isao Takashima, Albert Schagidullin, Ilya Levinsky, Andrei Breus, Ilya Bannik, Elena Manistina, Barry Banks, Olga Trifonova, Yuri Maria Saenz | Arthaus Musik

The Châtelet’s impressive staging of Rimsky-Korsakov’s The Golden Cockerel, recorded here in Paris in 2002 (hence the French title) is one that dates back to 1984, a co-production with San Francisco Opera. This recording has already been released on DVD, but it is another one of those productions that are so visually splendid and memorable that it more than merits an upgrade to Blu-ray. Designed by Ennosuke Ichikawa as a Kabuki staging, it’s an impressive production that fits surprisingly well in tone and content with the intentions of the original fairytale opera with a moral.

The opera, Rimsky-Korsakov’s final work, composed in 1906, is based on a Pushkin poem ‘The House of the Weathercock’, and the minimalist simplicity of the set design reflects that transparency of the fairytale’s simple moral message. King Dodon, fearful of his country being invaded by their neighbours and forced by his General to discount the foolish advice of his two sons, puts his trust instead in a Golden Cockerel sold to him by the Astrologer that will crow to warn him when his enemies are about to attack. Despite the warnings of the Cockerel, whose alerts have the king sending armies out to all parts of his kingdom, Dodon fails however to recognise the threat that is posed by the arrival of the Queen of Shemakha. Dodon is “a Tsar in appearance, but a slave in body and soul” when he falls for the Queen’s beauty and allows himself to be seduced by her charms. Acting out of fear, pride, lust, the moral of course is that even noble rulers have basic human weaknesses and are not immune – more likely in fact – to act out of self-interest and for personal gain.

Both Rimsky-Korsakov and the librettist V. Bel’sky laid down very specific remarks about how The Golden Cockerel should be performed (these notes are reproduced in the accompanying booklet in the BD and DVD releases), which as well as disapproving of any cuts to the work or the introduction of any additional interjections by the singers – as might be expected – note that the purpose of the work is “undoubtedly symbolic” and that the purely human character its intent “allows us to place the plot in any surroundings and in any period”, recognising however that there is an essential Russian character involved. It’s clear then that this production, even if it has a somewhat more oriental flavour, is nonetheless completely faithful to the original intentions and even perhaps recognises that the opera was inspired by the conflict between Russia and Japan in 1904 at the time the opera was composed. The suggestions of military incompetence on the part of the authorities would in fact lead to the opera being banned by the censor, only receiving its premiere after the death of the composer.

The basic stage dressing for this production then is accordingly simple and abstract in the manner of a fable where the moral is symbolic, but it is also extraordinarily beautiful with all the magic and fascination of a fairytale. If the stage then consists of little more than a brightly luminous backdrop to reflect the time of day or mood, and there is little on the stage but some steps to suggest a royal palace and stylised trees to represent the kingdom, the colourful costumes and Kabuki make-up reflect the larger-than-life characters and, to a large extent, Rimsky-Korsakov’s rich romantic scoring of the work, filled with fantastical melodies and folk influences, with leitmotifs and a Scheherazade-like middle-Eastern exoticism. It’s given a wonderful warm account here at the Châtelet with Kent Nagano conducting.

Cockerel

The space is needed on the stage moreover to contain all the extras, chorus and dancers – all beautifully costumed – and give room to the principals, because this is after all to a large extent a singer’s opera (rather than say a dramatic opera or a conceptual one), with a wonderful range of voices and expression from bass declamation to soprano coloratura. Using a mainly Russian cast, those roles are in good hands in this Châtelet production, with bass Albert Schagidullin as King Dodon and Olga Trifonova the Queen of Shemakha. In among all those Russians however is Barry Banks, perfectly cast for the specific demands of the high tenor role of the Astrologer. It’s particularly delightful that the singing is of a very high standard throughout, but this is a wonderful production on just about every level.

This beautiful, colourful production certainly benefits from its upgrade to Blu-ray for the High Definition 16:9 widescreen image and for the sound mixes in PCM Stereo and DTS HD-Master Audio 5.1 that put over the qualities of the orchestration and singing. It’s really quite breathtaking. The Blu-ray is All-Region, 1080i, a BD25 disc with no extra features, although the booklet is informative and includes a synopsis. Subtitles are English, German, Italian, French, Spanish and Chinese.

HoffmannJacques Offenbach - The Tales of Hoffmann

English National Opera, London, 2012 | Antony Walker, Richard Jones, Barry Banks, Georgia Jarman, Clive Bayley, Christine Rice, Iain Paton, Grame Danby, Simon Butteriss, Catherine Young | The Coliseum, 23 February 2012

For his final opera - his only opera proper, since his prolific output up to 1880 consisted principally of comic operetta - Jacques Offenbach found a suitably inventive and imaginative mind to “collaborate” with in the shape of ETA Hoffmann. Using three of the writer’s fabulous stories, interlinked through involving their original author in the relating and playing out of the stories, finding common connections in character types that allow them to be played and sung by singers in multiple roles, The Tales of Hoffmann is consequently a very rich work where the contributions of the composer and the original author can be played upon to interesting effect. The English National Opera’s new production of the opera (already seen in Munich as a co-production with the Bavarian State Opera) seems to find a like-minded stage director of inventiveness and imagination in Richard Jones, but while his stage design for the production delivers everything you would expect from this type of match, it also feels a little too neat and obvious and doesn’t yield any unexpected results.

There’s a balance between playfulness and tragedy to be achieved in The Tales of Hoffmann and Jones (as seen most famously recently in his Royal Opera House production for Turnage’s Anna Nicole) can be good at showing an underlying dark unease beneath the surface kitsch and colour. As if it’s all conjured up from within the fevered imagination of an alcoholic writer at his wits end (only a little licence involved in relating this to the real-life circumstances of ETA Hoffmann), the action in each of the acts takes place in a uniformly shaped, trompe d’oeil twisted room, with a bed, a bookcase, a sink, a writing desk and several other elements that change subtly in form and colouration according to each of the three gothic romances that Hoffman relates to his assembled (imaginary?) audience, three affairs that have taken him to the edge of despair and self-destruction. The sense that this fevered imagination is enhanced by the smoking of mind-altering substances is reinforced by the repeated appearance of Hoffmann, his muse and three gentlemen smoking pipes in between each of the stories, the smoke forming the names of the three women involved - Olympia, Antonia and Giuletta.

Hoffmann

Each of those three parts then is deliriously coloured to emphasis the fairytale quality of the original stories along with the dark undercurrent of gothic horror and tragedy that underpins them, and Richard Jones’s designs couldn’t be faulted for being eye-catching and imaginative in this respect. Just as in Offenbach’s score, there’s room for those familiar broader comic touches as well as for the more sensitive plays of character and emotion that lies within the situations, but it often feels perfunctory when compared to Offenbach’s wilder flights of fancy in his opéra comique, and merely playing on opera conventions. The production mirrors the nature of the work perfectly well in this respect, in other words, but it doesn’t manage to make anything more of those links and contrasts in the stories, in the differing views that Hoffmann and Offenbach bring to them, or in how they even relate to each other.

Some lovely melodies aside, The Tales of Hoffmann isn’t the most sophisticated work, and there perhaps isn’t much to delve into beneath the surface, but these elements and contradictions could be exploited further in the hands of a more adventurous director. Considering that the theme of the banal realities of life being enhanced by the imagination of a disturbed character or lunatic form a core part of the films of Terry Gilliam, I couldn’t help think that this opera would have been a more interesting vehicle for the former Python than Berlioz’s The Damnation of Faust at the ENO (notwithstanding his success with that) - whereas with Richard Jones, The Tales of Hoffmann just feels in safe hands. It’s all very entertaining and visually impressive, but personally, I think this particular opera, with its rather old-fashioned storytelling devices relating a confusing and strange narrative needs rather more than a straightforward telling. Jones gets the surface down well, but there’s not a whole lot of sense or depth in it as a whole.

Hoffmann

It’s left to the singers then to try and bring something more memorable out of the production and, while the performances are terrific, it’s not enough to bring any new qualities out of the work. Barry Banks sings his heart out, but without any depth to the work or the production, he seems, like the character of Hoffmann in his choice of women (and like Offenbach himself), to be expending an awful lot of energy and investing a lot of emotion in something that doesn’t seem worthy of his efforts. Georgia Jarman acquits herself admirably across a notoriously difficult singing of the opera’s multi-part soprano role, bringing some genuine sensitivity to the character of Antonia at least, if he is unable to do much within the staging for the other parts. Christine Rice also brought some heartfelt emotion and character to the muse disguised as Nicklausse - indeed surpassing the otherwise unimaginative director’s interpretation of the character. Clive Bayley sang well and was suitably sinister as the villain of the pieces.

Antony Walker’s conducting of the score was excellent, but like all the other aspects of the production, it didn’t raise the work to any new levels - but that might perhaps be asking for too much. That perhaps sums up my overall impression of the ENO’s The Tales of Hoffmann, which on its own terms was a delightful and entertaining account of the work, marvellously performed with skill and commitment, but anyone looking for something a little more thoughtful or challenging from Richard Jones’s production could well feel a little bit disappointed.