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

The "Lost" Songs of Morfydd Owen

A new recording, made late last year, Morfydd Owen : Portrait of a Lost Icon, from Tŷ Cerdd, specialists in Welsh music, reveals Owen as one of the more distinctive voices in British music of her era : a grand claim but not without foundation. To this day, Owen's tally of prizes awarded by the Royal Academy of Music remains unrivalled.

Enchanting Tales at L A Opera

On March 24, 2017, Los Angeles Opera revived its co-production of Jacques Offenbach’s The Tales of Hoffmann which has also been seen at the Mariinsky Opera in Leningrad and the Washington National Opera in the District of Columbia.

Ermonela Jaho in a stunning Butterfly at Covent Garden

Ermonela Jaho is fast becoming a favourite of Covent Garden audiences, following her acclaimed appearances in the House as Mimì, Manon and Suor Angelica, and on the evidence of this terrific performance as Puccini’s Japanese ingénue, Cio-Cio-San, it’s easy to understand why. Taking the title role in the first of two casts for this fifth revival of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, Jaho was every inch the love-sick 15-year-old: innocent, fresh, vulnerable, her hope unfaltering, her heart unwavering.

Brave but flawed world premiere: Fortress Europe in Amsterdam

Calliope Tsoupaki’s latest opera, Fortress Europe, premiered as spring began taming the winter storms in the Mediterranean.

New Sussex Opera: A Village Romeo and Juliet

To celebrate its 40th anniversary New Sussex Opera has set itself the challenge of bringing together the six scenes - sometimes described as six discrete ‘tone poems’ - which form Delius’s A Village Romeo and Juliet into a coherent musico-dramatic narrative.

Cast announced for Bampton Classical Opera's 2017 production of Salieri's The School of Jealousy

Following highly successful UK premières of Salieri’s Falstaff (in 2003) and Trofonio’s Cave (2015), this summer Bampton Classical Opera will present the first UK performances since the late 18th century of arguably his most popular success: the bitter comedy of marital feuding, The School of Jealousy (La scuola de’ gelosi). The production will be designed and directed by Jeremy Gray and conducted by Anthony Kraus from Opera North. The English translation will be by Gilly French and Jeremy Gray. The cast includes Nathalie Chalkley (soprano), Thomas Herford (tenor) and five singers making their Bampton débuts:, Rhiannon Llewellyn (soprano), Kate Howden (mezzo-soprano), Alessandro Fisher (tenor), Matthew Sprange (baritone) and Samuel Pantcheff (baritone). Alessandro was the joint winner of the Kathleen Ferrier Competition 2016.

La voix humaine: Opera Holland Park at the Royal Albert Hall

Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.

London Handel Festival: Handel's Faramondo at the RCM

Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.

Brahms A German Requiem, Fabio Luisi, Barbican London

Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.

Káťa Kabanová in its Seattle début

The atmosphere was a bit electric on February 25 for the opening night of Leoš Janàček’s 1921 domestic tragedy, and not entirely in a good way.

Bampton Classical Opera Young Singers’ Competition 2017

Applications are now open for the Bampton Classical Opera Young Singers’ Competition 2017. This biennial competition was first launched in 2013 to celebrate the company’s 20th birthday, and is aimed at identifying the finest emerging young opera singers currently working in the UK.

Festival Mémoires in Lyon

Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).

Handel's Partenope: surrealism and sensuality at English National Opera

Handel’s Partenope (1730), written for his first season at the King’s Theatre, is a paradox: an anti-heroic opera seria. It recounts a fictional historic episode with a healthy dose of buffa humour as heroism is held up to ridicule. Musicologist Edward Dent suggested that there was something Shakespearean about Partenope - and with its complex (nonsensical?) inter-relationships, cross-dressing disguises and concluding double-wedding it certainly has a touch of Twelfth Night about it. But, while the ‘plot’ may seem inconsequential or superficial, Handel’s music, as ever, probes the profundities of human nature.

Christoph Prégardien and Julius Drake at the Wigmore Hall

The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.

La Tragédie de Carmen at San Diego

On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).

Kasper Holten's farewell production at the ROH: Die Meistersinger von Nürnberg

For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.

AZ Musicfest Presents Mendelssohn's Italian Symphony and Leoncavallo's Pagliacci

The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.

English Touring Opera Spring 2017: a lesson in Patience

A skewering of the preening pretentiousness of the Pre-Raphaelites and Aesthetes of the late-nineteenth century, Gilbert and Sullivan’s 1881 operetta Patience outlives the fashion that fashioned it, and makes mincemeat of mincing dandies and divas, of whatever period, who value style over substance, art over life.

Tara Erraught: mezzo and clarinet in partnership at the Wigmore Hall

Irish mezzo-soprano Tara Erraught demonstrated a relaxed, easy manner and obvious enjoyment of both the music itself and its communication to the audience during this varied Rosenblatt Series concert at the Wigmore Hall. Erraught and her musical partners for the evening - clarinettist Ulrich Pluta and pianist James Baillieu - were equally adept at capturing both the fresh lyricism of the exchanges between voice and clarinet in the concert arias of the first half of the programme and clinching precise dramatic moods and moments in the operatic arias that followed the interval.

Opera Across the Waves

This Sunday the Metropolitan Opera will feature as part of the BBC Radio 3 documentary, Opera Across the Waves, in which critic and academic Flora Willson explores how opera is engaging new audiences. The 45-minute programme explores the roots of global opera broadcasting and how in particular, New York’s Metropolitan Opera became one of the most iconic and powerful producers of opera.

OPERA TODAY ARCHIVES »

Reviews

Ashley: Perfect Lives
12 Sep 2006

ASHLEY: Perfect Lives; Celestial Excursions; Foreign Experiences

Robert Ashley has the uncanny ability to sprinkle diamonds amidst great swaths of apparently trivial and quotidian detritus–diamonds that trigger the nervous system in an intensely stimulating fashion.

Robert Ashley. Perfect Lives. Lovely Music DVD 4917 [2DVDs]
Celestial Excursions. Lovely Music LCD 1007.
Foreign Experiences. Lovely Music LCD 1008.

Various artists

 

Ashley puts into close proximity two dramatic states–the first, a long, process-like state of suspended intelligence, a kind of cultivated stupor, the second constituting brief, extremely clear moments of heightened awareness, a sort of penetrating focus that cuts through the trivial and then transforms it into the meaningful.

Celestial_Excursion.jpg

If my description sounds like life under the influence of a cocktail of antidepressants laced with the occasional stimulant, so be it, for Ashley’s oeuvre, more so than any other composer’s work in this reviewer’s experience, comes the closest to confronting consciousness in a modern world of tailored pharmaceuticals. This is not to say his work is programmatic, designed by intent or by accident to resemble the workings of a sedated mind, for it is anything but sedate. Instead Ashley’s work confronts us with the same kind of consciousness that a life on Prozac (or vodka, or mushrooms, or trancing) mixed with occasional lapses into recreational pharmacy must confront us with. It addresses the potential for a deep and prolonged depression derived from the consciousness of the fact that the world our parents promised us so as to get us to sleep at night–filled as it was with regularity and good design–is a phantom, and it makes no sense (in opera or in the conduct of one’s daily affairs) to pretend otherwise.

Ashley’s operas follow in the mold of Beckett’s drama. As much as it hurts to recognize this fact, the world is comprised of characters taking ultimately random trajectories amidst great swaths of trivial and quotidian detritus. If we can find a few diamonds sprinkled in the refuse, we are much the better for it. Our world, if it doesn’t make complete sense, makes a kind of sense, sometimes brilliantly. Ashley’s opera, if they don’t make complete sense, make a kind of sense, often brilliantly.

To reiterate, Ashley puts into close proximity two dramatic states. The first of these–Beckett like in quality–takes us through a long process of seemingly random verbiage produced as if one were flipping channels through a dozen talk radio shows. This is the quintessential North American experience of the meaning of meaninglessness, a kind of Zen mindedness produced unintentionally (but not without design) by the unbridled proliferation of individually innocuous media. The flow produced thus in Ashley’s work has a chant-like quality, hypnotic and drone-like, which the musical accompaniment to the drama compliments perfectly. Into this ribbon of detritus, Ashley sows little snippets of lyric with a deceptive regularity, snippets of extreme importance to us, both as listeners and (in a sense that makes his work so important) as citizens, or at least denizens, of our modern world. Although it is quite impossible to say precisely what the relevance of these phrases is, either to the work at hand or to our interests (and even our best interests), we are riveted by them. They are redolent of meaning, if they don’t actually mean anything themselves. Here are two such snippets from Foreign Experiences, the end of scene 10 in Act 1:

Take a shower shave and sauce
Kiss the wife goodbye
Finish up the drugs
Make a few phone calls
Check with my broker

Opinion blew him up against the wall
Then having suffered enough or having
Been cleansed depending on your point of view
He was accepted as a neighbor they even started
Speaking English he could buy a loaf of bread he could
Get his shoes shined....

Foreign_Experiences.jpg

In the first instance, our parents never told us about the drugs, when they were discussing the other parts (our normal routines, from the shower to the broker); the second instance describes perfectly the average North American’s reception as a stranger entering a new neighborhood in the friendly global village, where television and the computer have done absolutely nothing to break down territoriality.

The kind of meaning produced here is like that given off by Thorton Wilder’s absolutely maudlin peon to American domesticity, the play Our Town. The essential meaning is all sidereal, which, despite the playwright’s best intentions, draws us back to the play again and again. This is a meaning without a central core; these are lives that derive meaning from convention rather than substance. Substance–dependency on drugs, acceptance by neighbors (and thus access to bread and vodka)–is glimpsed only in haphazard fashion. Substantial meaning benefits from this approach, since to stare at substance for too long is to remove it from one’s awareness.

Given these parameters–a sort of evaporated content that gives way every now and then to glimpses of substance–Ashley’s work derives its greatest characteristic quality from text enunciation and setting. Ashley, himself, takes many of the principal roles. His is a suitably monotonic voice, roughly articulated in some barely identifiable drawl (indecipherable to a Canadian, but situated presumably somewhere between the Carolinas and Texas). He sounds like someone overheard in the adjacent restaurant booth, every so slightly agitated or merely overstimulated, who carries on a monologue just slightly above the volume observed by decorum, and thus as good as in your face, since you and everyone else in the restaurant is drawn to it as if it were an aural magnet. This is a person saying in full voice things that are normally whispered in restaurant booths. The text works its way into the psyche as both forbidden and yet necessary, as uncomfortable and yet intensely interesting.

Ashley’s characters are made generally to articulate the text in a sort of bare enunciation–in a stupor, or trance like–against sparse accompaniment (monodic, in the sense of the term monodrama hearkening back to Peri and the origins of opera as drama). Worked into the flow are songs, duets, choruses, dramatic interjections. In Wagnerian fashion, the singers segue into and out of these indiscriminately; they seldom plant their feet and bring forth an aria.

I liken Ashley’s operas to Richard Ford’s Independence Day. We sense that great things–monumental things–are going on, of which the musical moments in the operas are but mere symptoms. The greatness is left inarticulate, merely sensed, slouching behind the sheer volume of the whole. Like Ford’s novel, Ashley’s work is centrally American–about American real estate, so to speak. The images that emerge have a particularly American quality about them: witness protection programs will be invoked alongside Death Valley segueing to Death’s Door Hospital, to “Somewhere in the Great Southwest,” and the Bob Willis Band, the “Milk Cow Blues,” Subaru, the sharp sound of a rifle and the subsequent sharp blow to the chest, an adopted daughter, Walnut, an American Indian.

The participants in these operas are familiar faces in the Ashley circle: Sam Ashley, Jacqueline Humbert, Joan La Barbara, “Blue” Gene Tyranny, Tom Hamilton, Thomas Buckner. Some have been with Ashley since the days of Perfect Lives (since the late 70's), and this familiarity is evident in the ease with which they perform his work. Of the three operas under review here, Foreign Experiences has a narrative tension unlike that seen before in Ashley’s operas–a taught quality that derives from the slightly paranoid nature of a protagonist. The two voices involved in this recording–Sam Ashley and Humbert–retain, however, the hypnotic quality of Ashley’s other work, paranoia aside, and the result is a very pleasant discrepancy between the obvious tension of the plot and the trance-like ease of the narrative. This calls to mind, again, pharmaceuticals, as if under heavy sedation one laughingly yields one’s now distant body into the waiting arms of a surgeon.

Ashley’s work is the central pillar of Lovely Music’s ever impressive catalog. Details can be had at their website: http://www.lovely.com/ . There is a thumbnail bio of Ashley at Wikipedia, with interesting links, and an excellent interview article at http://www.lovely.com/press/articles/Wire%20No.234.pdf . Early work is available through the “Art of the States” website and through the ever astonishing ubu.com.

Murray Dineen

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):