Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Haitink at the Lucerne Festival

Bernard Haitink’s monumental Bruckner and Mahler performances with the Royal Concertgebouw Orchestra (RCO) got me hooked on classical music. His legendary performance of Bruckner’s Symphony No. 8 in C-minor, where in the Finale loosened plaster fell from the Concertgebouw ceiling, is still recounted in Amsterdam.

BBC Prom 45 - Janáček: The Makropulos Affair

Karita Mattila was born to sing Emilia Marty, the diva around whom revolves Leoš Janáček's The Makropulos Affair (Věc Makropulos). At Prom 45, she shone all the more because she was conducted by Jirí Belohlávek and performed alongside a superb cast from the National Theatre, Prague, probably the finest and most idiomatic exponents of this repertoire.

Two Tales of Offenbach: Opera della Luna at Wilton's Music Hall

‘Two outrageous operas in one crazy evening,’ reads the bill. Hyperbole? Certainly not when the operas are two of Jacques Offenbach’s more off-the-wall bouffoneries and when the company is Opera della Luna whose artistic director, Jeff Clarke, is blessed with the comic imagination and theatrical nous to turn even the most vacuous trivia into a sharp and sassy riotous romp.

Britten Untamed! Glyndebourne: A Midsummer Night's Dream

This performance of Britten's A Midsummer Night's Dream at Glyndebourne was so good that it was the highlight of the whole season, making the term ‘revival’ utterly irrelevant. Jakub Hrůša is always stimulating, but on this occasion, his conducting was so inspired that I found myself closing my eyes in order to concentrate on what he revealed in Britten's quirky but brilliant score. Eyes closed in this famous production by Peter Hall, first seen in 1981?

Salzburg encores

A staged piano recital and an opera as a concert.  Pianist András Schiff accompanied the Salzburg Marionette Theater at the Mozarteum Grosser Saal and Anna Netrebko sang Manon Lescaut at the Grosses Festspielhaus.

Leah Crocetto at Santa Fe

On August 4, 2016, soprano Leah Crocetto and accompanist Tamara Sanikidze gave a recital at the Scottish Rite Center in Santa Fe New Mexico. A winner of the Metropolitan Opera Auditions and the BBC Cardiff Singer of the World Contest, this year Crocetto was singing Donna Anna in Santa Fe Opera’s excellent Don Giovanni.

Angela Meade at Sante Fe

On July 31, 2016, against the ethereal beauty of the main hall in the Scottish Rite Center, soprano Angela Meade and pianist Joe Illick gave a recital offering both opera and art songs ranging in origin from early nineteenth century Europe to mid twentieth century America. Many in the audience probably remembered Meade’s recent excellent portrayal of Norma at Los Angeles Opera.

Turco in Italia in Pesaro

When more is definitely more, and less would indeed be less. Two of the biggest names in Italian theater art collide in an eponymous theater.

Proms Chamber Music 5: Shakespeare at 400

It was the fifth Proms Chamber Music concert at Cadogan Hall this season, and we were celebrating Shakespeare’s 400th. And, given the extent and range of the composers and artists, and the diversity and profundity of the musical achievement inspired by the Bard, we could probably keep celebrating in this fashion ad infinitum.

La donna del lago in Pesaro

Each August the bleak and leaky, 12,000 seat Arena Adriatica (home of the famed Pesaro basketball team) magically transforms itself into an improvised opera house that boasts the ultimate in opera chic — exemplary Rossini production standards for its now twelve hundred seats.

Proms at … Sam Wanamaker Playhouse

This highly enjoyable Prom, part of 2016’s ‘Proms at …’ mini-series, took as its guiding concept the reopening of London’s theatres following the Restoration, focusing in particular upon musical and dramatic responses to Shakespeare. Purcell, rightly, loomed large, with John Blow and Matthew Locke joining him. Receiving their Proms premieres were the excerpts from Timon of Athens and those from Locke’s The Tempest.

Santa Fe: Straussian Sweet Nothings

With all the bombast of the presidential campaigns rattling in our heads, with invectives being exchanged and measured discussion all but absent, how utterly lovely to retreat and relax into the harmonious soundscape and well-reasoned debate posed in Strauss’ Capriccio, on magnificent display at Santa Fe Opera.

Santa Fe’s Civil War Gounod

When we entered the Crosby Theatre for Gounod’s Roméo et Juliette the stage was surprisingly dominated by a somber, semi-circular black mausoleum, many chambers inscribed with scrambled names of US Civil War era dead.

Coolly Elegant Vanessa in the Desert

Molten passions were seething just below the icy Nordic exterior of Santa Fe Opera’s wholly masterful production of Barber’s Vanessa.

Le Comte Ory, Seattle

Farce is probably the most difficult of dramatic comedy sub-genres to put across. A farce got up in the stately robes of opera sets its presenters an even higher bar. Presenting an operatic farce on a notoriously chilly and cavernous auditorium is to risk catastrophe.

Racette’s Golden Girl in New Mexico

Fan interest began raging when Santa Fe Opera engaged venerable artist Patricia Racette to make her role debut as Minnie in Puccini’s La Fanciulla del West.

Santa Fe’s Mozart Cast Sweeps All Before It

A funny thing happened on the way to Andalusia.

Die Liebe der Danae in Salzburg

The tale of a Syrian donkey driver. And, yes, the donkey stole the show! The competition was intense — the Vienna Philharmonic and the Grosses Festspielhaus in full production regalia for starters.

Snape Proms: Bostridge sings Brahms and Schumann

Two men, one woman. Both men worshipped and enshrined her in their music. The younger man was both devotee of and rival to the elder.

Cosi fan tutte in Salzburg

This Cosi fan tutte concludes the Salzburg Festival's current Mozart / DaPonte cycle staged by Sven-Eric Bechtolf, the festival's head of artistic planning.

OPERA TODAY ARCHIVES »

Reviews

Penny Merriments: Street Songs of 17th Century England
22 Sep 2005

Penny Merriments: Street Songs of 17th Century England

In 1728 John Gay’s Beggar’s Opera was produced in London as a sardonic response to the ongoing craze for Italian opera seria.

Penny Merriments: Street Songs of 17th Century England

Lucie Skeaping, soprano; Douglas Wootton, tenor; Richard Wistreich, Bass-baritone; The City Waites

Naxos 8.557672 [CD]

 

The Beggar’s Opera consisted of an original book and lyrics, with music taken from a wide variety of sources, everything from the actual operas of Handel to the popular broadside ballads that were sung between the acts of serious plays at the theatre, or in coffee houses or on the streets. It is these broadside ballads that are presented on this recording, and if the increased popularity of opera seria during the past few decades has left some opera-lovers surfeited with its motifs and conventions, they might find a suitable tonic on this disc.

This is not to say that royalty, great battles, mad lovers, and even women dressed as men are not to be found here. Shall we just say that they are viewed from a different angle. The program begins with “The Courtiers Health, or The Merry Boys of the Times,” which celebrates the restoration of Charles II to the British throne as a grand justification for drinking. We see William and Mary through the eyes of a country bumpkin who stretches his resources to go to London for the coronation. And Queen Elizabeth makes an appearance in “An Old Song on the Spanish Armada,” which describes the defeat of the Spanish fleet in 1588. While this song describes a historic event, it was also quite customary for ballads to present news reports and commentary on current events, as is done in “London Mourning in Ashes”, which presents eyewitness accounts of the London fire of 1688 and warns the citizens to mend their sinful ways or face an even worse disaster in the future. Another ballad that is apparently based upon an actual event is “The Female Captain, or The Counterfeit Bridegroom”, in which a woman who needs money dresses as a man and successfully courts and marries an heiress. The song describes with relish how the Counterfeit Bridegroom manages to keep the bride satisfied for a month, until “his” true identity is revealed. Not all the songs are comical or topical; “Grim King of the Ghosts” sets a text in which a jilted lover tortures himself with thoughts of his lover in the arms of another and appeals to the dark forces to take him away from the world.

The haunting tune used in “Grim King of the Ghosts” was used in a number of ballad operas, including The Beggar’s Opera. Other familiar tunes appear on the program, including “Greensleeves”, to which is set a text bemoaning the “good old days” of England, and “Liliburlero”, to which is set “Good Advice to Batchelors, How to Court and Obtain a Young Lass”, advice that is decidedly insensitive to the feminist question “what part of no don’t you understand?” In fact, sensitivity could hardly have been what the ballads’ audiences were seeking, as other songs lampoon country bumpkins, Quakers, and all sorts of sexual follies, shortcomings, and misadventures.

In keeping with the variety of venues in which these songs might have been heard in the seventeenth century, the arrangements vary from a cappella, as might have been heard on the street, to accompaniments by one or more period instruments. One of the most imaginative of these arrangements combines a ballad about two members of a band who create trouble when they choose to “play the game of Uptails All” with an instrumental presentation of a tune entitled “Uptails All.” The instrumental palette on the disc includes such instruments as lute, recorder, fiddle, and bagpipes (mercifully not all at once). The voices of the singers, Lucie Skeaping, Douglas Wootton, and Richard Wistreich, are, of course, not operatic, but I personally find them quite pleasant to listen to, as they present the stories and characters with great energy and flair. To my American ears they handle the various dialects convincingly and humorously. It is the combination of the dialects and the sometimes outmoded language that will probably send all but the most specialized listeners to seek the texts. These, in order to keep the disc in the budget category, are not included in the notes distributed with the CD, but can be accessed online at www.naxos.com/libretti/pennymerriments.htm.

Barbara Miller

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):