Recently in Performances
Twelve years after Opera Holland Park's first production of Francesco Cilea's Adriana Lecouvreur, the opera made a welcome return.
The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre. The world of commercial public opera had only just dawned with the opening of the Teatro San Cassiano in Venice in 1637 and for the first time opera became open to all who could afford a ticket, rather than beholden to the patronage of generous princes. Monteverdi took full advantage of the new stage and at the age of 73 brought all his experience of more than 30 years of opera-writing since his ground-breaking L’Orfeo (what a pity we have lost all those works) to the creation of two of his greatest pieces, Ulysses and then his final masterpiece, Poppea.
Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission. It is a sad state of affairs when a season that includes both Boulevard Solitude and Moses und Aron is considered exceptional, but it is - and is all the more so when one contrasts such seriousness of purpose with the endless revivals of La traviata which, Die Frau ohne Schatten notwithstanding, seem to occupy so much of the Royal Opera’s effort. That said, if the Royal Opera has not undertaken what would be only its second ever staging of Schoenberg’s masterpiece - the first and last was in 1965, long before most of us were born! - then at least it has engaged in a very welcome ‘WNO at the Royal Opera House’ relationship, in which we in London shall have the opportunity to see some of the fruits of the more adventurous company’s endeavours.
If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.
Composed during just a few weeks of the summer of 1926, Janáček’s Slavonic-text Glagolitic Mass was first performed in Brno in December 1927. During the rehearsals for the premiere - just 3 for the orchestra and one 3-hour rehearsal for the whole ensemble - the composer made many changes, and such alterations continued so that by the time of the only other performance during Janáček’s lifetime, in Prague in April 1928, many of the instrumental (especially brass) lines had been doubled, complex rhythmic patterns had been ‘ironed-out’ (the Kyrie was originally in 5/4 time), a passage for 3 off-stage clarinets had been cut along with music for 3 sets of pedal timpani, and choral passages were also excised.
With the conclusion of the ROH 2013-14 season on Saturday evening - John Copley’s 40-year old production of La Bohème bringing down the summer curtain - the sun pouring through the gleaming windows of the Floral Hall was a welcome invitation to enjoy a final treat. The Jette Parker Young Artists Summer Showcase offered singers whom we have admired in minor and supporting roles during the past year the opportunity to step into the spotlight.
Many words have already been spent - not all of them on musical matters - on Richard Jones’s Glyndebourne production of Der Rosenkavalier, which last night was transported to the Royal Albert Hall. This was the first time at the Proms that Richard Strauss’s most popular opera had been heard in its entirety and, despite losing two of its principals in transit from Sussex to SW1, this semi-staged performance offered little to fault and much to admire.
Twenty years ago stage director Christopher Alden introduced Rossini’s then forgotten comedy to Southern California audiences in a production that is still remembered. In Aix Alden has revisited this complex work that many critics now consider Rossini’s greatest comedy.
The BBC Proms 2014 season began with Sir Edward Elgars The Kingdom (1903-6). It was a good start to the season,which commemorates the start of the First World War. From that perspective Sir Andrew Davis's The Kingdom moved me deeply.
One is unlikely to come across a cast of Figaro principals much better than this today, and the virtues of this performance indeed proved to be primarily vocal.
That’s A Winter’s Journey and A Night of Mourning for metteurs-en-scène William Kentridge (South Africa) and Katie Mitchell (Great Britain), completing the clean sweep of English language stage directors for the Aix Festival productions this year.
Assured elegance, care and thoughtfulness characterised tenor James Gilchrist’s performance of Schubert’s Schwanengesang at the Wigmore Hall, the cycles’ two poets framing a compelling interpretation of Beethoven’s An die ferne Geliebte.
‘Music for a while shall all your cares beguile.’ Dryden’s words have never seemed as apt as at the conclusion of this wonderful sequence of improvisations on Purcell’s songs and arias, interspersed with instrumental chaconnes and toccatas, by L’Arpeggiata.
The acoustic of the gigantic Théâtre Antique Romain at Orange cannot but astonish its nine thousand spectators, the nearly one hundred meter breadth of the its proscenium inspires awe. There was excited anticipation for this performance of Verdi’s first masterpiece.
Opera Theatre of Saint Louis has once again staked claim to being the summer festival “of choice” in the US, not least of all for having mounted another superlative world premiere.
In past years the operas of the Aix Festival that took place in the Grand Théâtre de Provence began at 8 pm. The Magic Flute began at 7 pm, or would have had not the infamous intermittents (seasonal theatrical employees) demanded to speak to the audience.
High drama in Aix. Three scenarios in conflict — those of G.F. Handel, Richard Jones and the intermittents (disgruntled seasonal theatrical employees). Make that four — mother nature.
The programme declared that ‘music, water and night’ was the connecting thread running through this diverse collection of songs, performed by soprano Lucy Crowe and pianist Anna Tilbrook, but in fact there was little need to seek a unifying element for these eclectic works allowed Crowe to demonstrate her expressive range — and offered the audience the opportunity to hear some interesting rarities.
‘Only make the reader’s general vision of evil intense enough
and his own experience, his own imagination, his own sympathy
will supply him quite sufficiently with all the particulars.
It is not often that concept, mood, music and place coincide perfectly. On the first night of Opera della Luna’s La Fille du Regiment at Iford Opera in Wiltshire, England we arrived with doubts (rather large doubts it should be admitted)as to whether Donizetti’s “naive and vulgar” romp of militarism and proto-feminism, peopled with hordes of gun-toting soldiers and praying peasants, could hardly be contained, surely, inside Iford’s tiny cloister?
30 Sep 2004
Le Figaro on Charpentier Festival
FESTIVAL Marc-Antoine Charpentier à Ambronay Triomphe de la jeunesse Gérard Corneloup [30 septembre 2004] En cette année du bicentenaire de la mort de Marc-Antoine Charpentier, occasion unique de le sortir de l'ombre que lui fait encore Lully, le festival d'Ambronay...
FESTIVAL Marc-Antoine Charpentier à Ambronay
Triomphe de la jeunesse
[30 septembre 2004]
En cette année du bicentenaire de la mort de Marc-Antoine Charpentier, occasion unique de le sortir de l'ombre que lui fait encore Lully, le festival d'Ambronay et son Académie baroque européenne ne pouvaient pas rester en dehors du mouvement. Ils y participent brillamment avec deux petits ouvrages pleins de charme - Actéon et Les Arts florissants - confiés aux 52 jeunes artistes, chanteurs, instrumentistes et danseurs recrutés pour moitié en France et dans la Communauté européenne, mais aussi en Russie, au Brésil et en Corée. Le maître d'oeuvre en est Christophe Rousset, grand spécialiste de la chose baroque, et le cadre idéal en a été le théâtre de Bourg-en-Bresse.
Le résultat dépasse encore les qualités qu'on avait remarquées lors des dix précédentes éditions, en particulier avec le superbe Cadmus et Hermione de Lully présenté il y a deux ans. Frappé au sceau de la jeunesse et de la justesse, le cru 2004 se révèle un modèle en la matière, à partir de deux composantes solidement bâties : osmose parfaite entre la partie musicale et la partie visuelle, d'une part, cohésion vivifiante entre le chant et la partie instrumentale, d'autre part.
Les Arts Florissants sont une allégorie plaisante chantant la place des Arts dans le monde... et accessoirement la gloire du Roi-Soleil. Actéon est un divertissement mythologique doux-amer puisé chez Ovide. Avec beaucoup d'à-propos, surtout pour le second ouvrage, le metteur en scène Ludovic Lagarde divise l'espace en deux zones, l'une, largement ouverte sur le proscenium, l'autre en fond de scène avec un grand cube clos, délimitant ainsi deux mondes, celui des dieux et celui des mortels.
Les costumes de Jean-Jacques et Virginie Weil, montrant une nudité feinte des nymphes de Diane plus vraie que nature, les éclairages bien maîtrisés de Sébastien Michaud et les sobres décors d'Antoine Vasseur, sans oublier une chorégraphie d'Odile Duboc très en situation, scellent un travail d'équipe particulièrement réussi.
La meme cohésion triomphe parmi les jeunes chanteurs possédant parfaitement le style baroque. Choristes ou solistes, tous seraient à citer tandis que la fosse résonne de sonorités riches et fluides sous la direction à la fois précise et lyrique de Christophe Rousset qui a l'oeil à tout. Avec une telle jeunesse, le baroque a encore de beaux jours devant lui !
Calendrier de la tournée : Chambéry le 30 septembre, Vichy le 2 octobre, Versailles le 5 octobre, Villefranche- sur-Saone le 9 octobre, Rennes les 12, 14 et 15 octobre, Besançon le 17 octobre, Reims le 19 octobre, Metz le 21 octobre, Roanne le 23 octobre.