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 Performances

An English Winter Journey

Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.

History Repeating Itself: Prokofiev’s Semyon Kotko, Amsterdam Concertgebouw

A historical afternoon at the NTR Saturday Matinee occurred with an epic concert version of Prokofiev’s Soviet Opera Semyon Kotko.

L’amour de loin at the Metropolitan Opera

Opening night at the Metropolitan is a gleeful occasion even when the composer is long gone, but December 1st was an opening for a living composer who has been making waves around the world and is, gasp, a woman — the second woman composer ever to have an opera presented at the Met.

La finta giardiniera at the Royal College of Music

For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.

Lust for Revenge: Barenboim and Herlitzius fire up Strauss’s Elektra in Berlin

As the German language describes so beautifully, a “Schrei aus tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra from the depths of her soul.

Semyon Bychkov heading to NYC and DC with Glanert and Mahler

Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.

Lost Stravinsky re-united with Rimsky-Korsakov, Gergiev, Mariinsky

Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.

Philippe Jaroussky at the Wigmore Hall: Baroque cantatas by Telemann and J.S.Bach

On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.

The new Queen of the City of Birmingham Symphony Orchestra

Here is one of the next new great conductors. That’s a bold statement, but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment “is the biggest news in the conducting world.” But Ms. Mirga Gražinytė-Tyla will be getting a lot of weight on her shoulders.

Falstaff at Manitoba Opera

Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.

Gothic Schubert : Wigmore Hall, London

Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.

Rusalka, AZ Opera

On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.

First new Ring Cycle in 40 Years, Leipzig

Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.

San Jose’s Beta-Carotene Rich Barber

You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.

Manon Lescaut at Covent Garden

If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.

Fierce in War, dazzling in Peace: Joyce DiDonato at the Concertgebouw

Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.

Simplicius Simplicissimus

I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.

Lucia di Lammermoor at Lyric Opera of Chicago

For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.

Akhnaten Offers L A Operagoers Both Ear and Eye Candy

Akhnaten is the third in composer Philip Glass’s trilogy of operas about people who have made important contributions to society: Albert Einstein in science, Mahatma Gandhi in politics, and Akhnaten in religion. Glass’s three operas are: Einstein on the Beach, Satyagraha, and Akhnaten.

Shakespeare in the Late Baroque - Bampton Classical Opera

Shakespeare re-imagined for the very Late Baroque, with Bampton Classical Opera at St John's Smith Square. "Shakespeare, Shakespeare, Shakespeare....the God of Our Idolatory". So wrote David Garrick in his Ode to Shakespeare (1759) through which the actor and showman marketed Shakespeare to new audiences, fanning the flames of "Bardolatory". All Europe was soon caught up in the frenzy.

OPERA TODAY ARCHIVES »

Performances

Jonathan Dove (Photo: Hugo Glendinning)
09 Mar 2006

DOVE: Flight

For most of its 40 plus years the Adelaide Festival of Arts has had as its central attraction the Australian premieres of a landmark European opera like Wozzeck, Lady Macbeth of Mtsensk, The Fiery Angel or landmark contemporary works like Death in Venice, Nixon in China or El Nino presented within a few years of their world premieres.

2006 saw the local premiere of a contemporary work that has, in the few years since its premiere, achieved the same degree of success as the Britten or Adams' works, Jonathan Dove’s three act opera Flight. Originally performed at Glyndebourne in 1998, Flight has been produced in The Netherlands, Belgium, Germany, twice in the USA and subsequently revived at Glyndebourne in 2005. The Adelaide performances feature the Glyndebourne production directed by Geoffrey Dolton recreating Richard Jones’ original direction.

The original idea for Flight came from the true-life report of Mehran Nasseri, who lived for eleven months within the Charles de Gaulle Airport, the same story that inspired the Tom Hanks movie The Terminal. Set in an airport terminal, Flight concerns two couples, a stateless and passportless refugee, two flight attendants and an older woman. One couple, Bill and Tina are about to re-kindle their flagging marriage with a second honeymoon and self-help book. The other couple is a diplomat and his pregnant wife who suddenly refuses to leave with him. The older woman, Sandra, is waiting for her latest fiancée to arrive, this one she met at a bar in Cabrera. A storm halts all flights and all are now stranded for the night. The proceedings are watched over and commented on by the Flight Controller from her observation tower. While the Refugee begs small change from the passengers, the women get drunk, the habitually promiscuous flight attendants have quickies in the elevator and later the male attendant seduces the equally promiscuous Bill.

Much has been said of the easy accessibility of Dove's score. Experiencing the opera in performance reveals a blending the dramatic possibilities of opera seria with popular music styles. Dove, for instance, describes the very ordinary departure lounge chatter like the holiday plans of the very ordinary Bill and Tina in jaunty Rhumba rhythms not unlike the Leonard Bernstein of Wonderful Town. The similarities between Flight and a top-drawer musical composer like Bernstein or Stephen Sondheim are apt.

In a recent interview the conductor of the Adelaide performances, Brad Cohen referred to Dove's compositional style at the time as “evolving” and that “it just seems right.” Dove’s sound world does have an instinctive feel and sounds like a melting pot of musical styles assembled with the same seeming ease Sondheim blended the fairy tale music of Tchaikovsky and Ravel with his own orchestral palette in Into the Woods or a good film composer transfers symphonic thought into visual support. Later he can refer to encroaching storms in a style not unlike the build up to the storm in Britten’s Peter Grimes. None of this is pastiche, however, just a couple of hours of constantly and refreshingly varied music. In purely orchestral passages the depictions of jets taking off and landing do in orchestral terms for aircraft what Honegger’s Pacific 231 did for steam trains. Dove, in fact, has recently drawn an orchestral suite from Flight called “Airport Scenes” which might well take its place along side Honegger's famous opus.

In the Festival theatre, the variety of the music was given full head by Cohen and the Adelaide Symphony Orchestra.
Not surprisingly for an Englishman Dove's word setting descends from Britten, particularly Britten's break with the older English preference for one note per syllable so that the high voices especially have exuberant melismas that take ‘flight’ as often as any of the aircraft in the opera. The opera's only really dramatic character, the Refugee, is written for a counter-tenor and in often dramatic arioso form making him sound foreign to the other characters and the overall jollity of their music. David Walker’s voice is full and resonant, highly dramatic, and at far remove from the usual ‘early music’ sounding counter-tenor. Mary Hegarty who sang the Flight Controller at the opera’s Belgian premiere seems perfectly at ease, her high soprano, reaching up to high F and, not just the staccato pips of a Queen of the Night, but sustained phrases.

Nuala Willis, who created the Older Woman in 1998, reprises her role here. Willis's voice is a plaintive contralto that gives the comic but sad character’s realization that her holiday romancing days are over an air of melancholy. This sad character is a descendant of the love-lorn contraltos in Gilbert and Sullivan opera easily transposed into the twentieth century where she can contribute to a Gilbertian about marital relationships

“I stuck to my ex-husband like religion…I should have stuck to religion.
We always called each other names…Bastard! Moron! Rotten Sod!”
Just as the Older Woman may have stepped out of a Gilbert and Sullivan, Bill and Tina (the Brad and Janet of the opera world) and the flight attendants are stalwarts of British farce with their ‘carry on abroad’ antics or frenzied pantomime sex scenes. The libretto by April de Angelis merges farce and drama, particularly towards the end where the Diplomat’s wife gives birth on stage and the Refugee’s true plight is revealed. Like the music the libretto draws parallels with those of musicals and popular theatre in suggesting an embittered modern world even in a light-hearted story. The characters through their close encounters with each other emerge with a new perspective on their lot and voice their own personal revelations rather than draw a homogeneous moral.

With over sixty performances worldwide, a compact disc recording and forthcoming DVD Flight seems likely to join the still thin ranks of contemporary operas that survive alongside the standard repertoire.

Michael Magnusson

Flight by Jonathan Dove
Adelaide Festival of Arts
Performance date 3 March 2006

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):