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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.
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.
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.
Richard Strauss may be most closely associated with the soprano voice but
this recording of a selection of the composer’s lieder by baritone Thomas
Hampson is a welcome reminder that the rapt lyricism of Strauss’s settings
can be rendered with equal beauty and character by the low male voice.
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?
‘Lovers and madmen have such seething brains,/ Such shaping fantasies,
that apprehend/ More than cool reason ever comprehends.’
26 Sep 2005
LIDERMAN: The Song of Songs
Now this is one beautiful piece of music, a setting of the text of the “Song of Songs,” taken from the Hebrew Bible by the composer Jorge Liderman. Liderman is Argentinian by birth, now on the composition faculty of the Department of Music at the University of California at Berkeley. His work shows a distinct ability at the craft of composition: this is a very attractively put together work.
The text is a new translation by Chana and Ariel Bloch. In their notes to the work, they remark how exceptional the text is in a Biblical context, principally by its erotic nature, a compelling evocation of love at times quite physical. By its eroticism, amid the stern Biblical passages that surround it, the “Song of Songs” is indeed exceptional. The tone of the text itself, however, is entirely Biblical, deeply passionate about its subject matter, the narration of a lovers’ tale in sensuous detail.
While there is some fine writing for voice, chorus, and for a small ensemble of instruments (including a rocketing line for piccolo that returns as a refrain), the way in which the piece is put together shows Liderman’s accomplishment as a composer. New ideas are introduced sparingly, and one has the impression of material reused and reworked so as to create an immediate sense of familiarity. Like a finely tailored suit, the work fits one’s sensibility immediately; the effect is of something quite familiar and yet refreshingly new. This is the hallmark of craft: unobtrusive and yet substantial, fresh but not grating or intrusive.
The work owes something to Stravinsky’s Les Noces, although it is nowhere like the hard scrabble of that most curious thing. The progress of the piece is a little like Stravinsky’s “ribbon of time”--the sense of being immersed in the narrative, as if one were looking on at a lovers’ tryst, almost but not quite to point of voyeurism (whereas in Noces one has the sense of having wandered into the wedding proceedings almost against one’s better judgement). This is the gift of opera, and it would behoove Bridge to give us something of Liderman’s operatic oeuvre, perhaps his award winning Antigona Furiousa from 1991.
The use of the various ensembles also resembles Noces : their juxtaposition, pleasantly surprising and subtle at times, adds to the spontaneity of the narrative. The soprano Elissa Johnston does fine work as the Shulamite; her lover, the tenor Charles Bland, is a little overshadowed by both her voice and the voluptuousness of her role. The Chamber Chorus of the University of California at Berkeley, under the direction of Marika Kuzma, and the San Francisco Contemporary Music Players, David Milnes conductor, round out the complement with some good work. Liderman’s writing for the chorus is particularly notable: unobtrusive but solid, it hovers above the proceedings, again a sign of fine operatic chorus writing.
Bridge Records, like Lovely Music (reviewed elsewhere on this site), has been around long enough to establish a reputation at the capable hands of Becky and David Starobin. Bridge and Lovely stand at the forefront of a host of small labels that give the term independent label an authentic and reputable meaning. Their website is www.BridgeRecords.com. The presence of funding from the Alice M. Ditson fund should be noted here: Ms. Ditson’s bequest, made over a half century ago now, has come in aid of a quite remarkable number of musical enterprises, invariably of good quality. Were the world peopled with a few more patron like Alice Ditson, new music and good musicology would be in a much better state than it is today.
The recording would make a wonderful gift to someone inclined toward good vocal music or with an interest in Biblical literature. The dissonant nature of the work, like everything else about it, is held in firm hand, and thus someone who is not an amateur of new music will find it agreeable none the less. Highly recomended.
University of Ottawa