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A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
Francesco Cavalli’s La Calisto was the composer’s ﬁfteenth opera, and the ninth to a libretto by Giovanni Faustini (1615-1651). First performed at the Teatro Sant’Apollinaire in Venice on 28th November 1651, the opera by might have been sub-titled ‘Gods Behaving Badly’, so debauched are the deities’ dalliances and deviations, so egotistical their deceptions.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure,
this new production presents the plot as the dying protagonist’s feverish
hallucinations. The result is a frosty retelling of what is arguably
Puccini’s most hot-blooded opera. Musically, the performance also left
much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang
bergetar akan terhapus.” (“The transient cannot hold on to stars
lost in the Milky Way; that which quivers will be erased.”) As soprano
Tony Arnold sang these words of Tony Prabowo’s chamber opera
Pastoral, with astonishingly crisp Indonesian diction, the first night
of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
New from Oehms Classics, Walter Braunfels Orchestral Songs Vol 1. Luxury singers - Valentina Farcas, Klaus Florian Vogt and Michael Volle, with the Staatskapelle Weimar, conducted by Hansjörg Albrecht.
Manitoba Underground Opera took audiences on a journey — literally and
figuratively — as it presented its latest installment of repertory opera
between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value
a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
22 Aug 2005
Any new recording of Handel under the baton of Rene Jacobs has to be greeted with both respect and interest, even if the absolute need for another recording of this well-represented oratorio is debatable. Perhaps some Handel scholars would argue with that and are still discussing the precedence of the current available recordings — the older Gardiner, the Neumann, or the more recent McCreesh for instance. So, one presumes, this recording of "Saul" on the Harmonia Mundi label must be intended to either trump those three or to at least offer a viable fourth choice for those who prefer their Handel oratorios as complete as possible. And a plus point is that the entire work is squeezed onto just 2 CDs with a total running time of 2 hrs 30 minutes, accompanied by some stimulating liner notes by Pierre Degott that are both informative and absorbing for the non-specialist consumer.
Does it succeed in surpassing the current competition? Instrumentally there's certainly a case for saying so. For instance, in the opening symphony we are treated to bright jewelled textures, with true Allegro tempi and some wonderful sound balancing work by the engineers in the Larghetto and Andante sections between the winds and strings where every instrument is faithfully reported. This level of playing and recording continues throughout. The 40-strong Concerto Koeln sound as good as one rightly expects of them under this director, with perhaps only the winds and brass shining a little brighter than the rest of this exemplary crew. There was one small detail that I especially enjoyed: the carillon is a delight in the opening of scene 3 where its crystalline notes contrast delightfully with the chorus's heavier wedges of sound. I also relished a relatively elevated and clear-textured "Dead March" — no lumpen morbidity here, rather a majestic and calm portrayal of inevitable death that leads inexorably into the chorus's smoothly-sung Elegy. Jacobs is somewhat renowned for taking a degree of liberty with some works, but here I found little that jarred (at least on the instrumental side) and indeed I heard a piece of music new to me in a recitative and accompagnato in Act 1, ably sung by the High Priest (Michael Slattery). Presumably this was one of those "pick and mix" elements that Mr. Handel was prone to add or delete depending on circumstances.
Vocally, I'm not so sure that this recording achieves to the same extent, but it certainly offers a rewarding alternative, and one's final choice of recording (if choice one must make) will surely rest on subjective preferences for certain voices, and certain elements of choral production. Indeed, my first reaction to the 36-strong RIAS-Kammerchor's opening lines was one of slight disappointment at the diction and the English ... a definite Germanic vowel sound is evident and it doesn't help a distinctly muddy delivery of the faster lines which continued right through to the final chorus of Act Three. I found myself straining to catch the words — and that was with the libretto to hand. No such problems with any of the soloists however: all eight are crisp and clear throughout.
If I had to give a "best in show" award to a soloist, it would have to be to Emma Bell as Saul's feisty daughter Merab. In her first character-defining aria "What abject thoughts....." she displays a wonderful mix of spot-on coloratura and warm incisive tone with some quite thrilling ornamentation which pins the listener to the seat and declares: this lady is not for trifling with. However, as her character softens, or at least expands, we can luxuriate in one of the most gorgeously expressive soprano voices singing today. She is simply superb in the quietly contemplative "Author of peace" where a feeling of controlled power is complemented by a rich long line and exquisite, minimal, decorations which illustrate perfectly her gradual change of heart.
Jeremy Ovenden sings the part of Jonathan with a no-nonsense, crisp characterisation which from the start tells us this man is no puppet prince, but one of honour and courage. As ever in this work, one wishes that he didn't disappear as early as he does. If Ovenden's more thoughtful passages lack a certain elegance of line perhaps better found in other recordings, this is still a very convincing performance. His dramatic sense is evident — one can hear this quite clearly in Act Two, for instance, in his resolute, if intimidated, confrontation with the bullying King Saul as he attempts to protect his friend and thus incurs the royal wrath.
The role of that friend, the young warrior David, is sung by Lawrence Zazzo. This American countertenor has been working extensively in Handel productions on the continent of Europe in the past few years so it's not difficult to see why Jacobs chose him for this recording. Vocally, he seems to occupy a place somewhere between the radically-different styles of the two recent starry "Davids" of note, Andreas Scholl on the Archiv recording with McCreesh and David Daniels' live portrayals in Edinburgh and Munich, but without their sheer class across the board, or quite yet establishing a truly personal sound of his own. He has a surprising tendency to shrillness in the faster, louder passages, as on the plus side his voice is warm and elegant in slower passages and very sweet in the highest registers. If he doesn't sound completely at ease with some of the ornaments he sings then maybe it's because some are definitely quirky, if not downright contentious: have a listen to the final repeats of the words "his wounded soul" from the aria "O Lord, whose mercies numberless" in Act 1, if you don't believe me. However, this is still a performance of merit, questionable ornamentation notwithstanding.
Having enjoyed her live performance in Munich so much, I was just a little disappointed in this Michal of Rosemary Joshua's — perhaps her lighter-hued voice is just ill-matched with that of Bell's and comes off worst in comparison. For all her undoubted technical mastery of the genre and supremely elegant singing, I felt this was not Joshua at her very best — something was lacking. Having said that, a slightly below-par Joshua is still a force to be reckoned with and she is still a Michal-of-choice for many Handelians. Just listen to the way she fashions her voice to reflect her resolute defence of David and defiance of Saul's death threats in "No, no let the guilty tremble" — regained determination, line, crisp diction and heartfelt emotion, all found from within the dancing rhythms of Handel's music and Jennen's text.
In the title role — always one dependent on strong recitative singing with so few actual airs to display one's gifts — Gidon Saks is a worthy choice and his obvious experience in making words count shines through, although I'm not sure he quite "carries" the true spirit of this unhappy king in an expressive sense. One gets the feeling of rage, and jealousy, but not so much of his decline into mental disorder in the face of the irrational powers driving him from within. He also tends to sing the music line by line, rather than making sense of the poetry — phrases just don't flow naturally and there are odd pauses between words where there should not be. Because of this tendency, I have to admit to preferring the Saul of, for instance, either Neal Davies or Alistair Miles.
Three impressive young singers shine brightly in the remaining lesser, but always dramatically important, six roles of High Priest and Witch (Michael Slattery), Doeg and Samuel (Henry Waddington), and the Amalekite and Abner (Finnur Bjarnason). Of the three, Michael Slattery makes the biggest impression, if only for the sheer dramatic range of his singing. Not all will approve of his almost pantomime-witch portrayal of Saul's medium to Samuel — his suave and robust tenor of the High Priest is contorted into a lisping, almost falsetto simpering sound which may be a step too far for some although it certainly worked in context for me. In contrast, the bass-baritone of Henry Waddington is steadily consistent and he sings Samuel's doom-laden air of retribution to the despairing king with appropriate gravitas and textual awareness. The deaths of Saul and his son are foretold with a gentle decrescendo, all the more chilling in its subtlety, on the final words "The Lord hath said it: He will make it good."
So, we have another excellent modern recording of Handel's "Saul" under the always intelligent and responsive direction of Rene Jacobs, even if it doesn't quite — by virtue of some variable vocal solo work — manage to establish a new benchmark for this most dramatic of oratorios.
© Sue Loder 2005