11 Nov 2006
Triumph over Adversity
LONDON – the fledgling Independent Opera Company takes on Orlando.
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.
A historical afternoon at the NTR Saturday Matinee occurred with an epic concert version of Prokofiev’s Soviet Opera Semyon Kotko.
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.
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’.
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.
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.
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.
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.
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.
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.
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.
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.
Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.
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.
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.
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.
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.
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 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 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.
LONDON – the fledgling Independent Opera Company takes on Orlando.
Even in Handel’s own time, Orlando wasn’t a hit. Three years ago the Royal Opera House mounted a big budget production of Orlando. Despite the big name singers, the elaborate revolving scenery and the Orchestra of the Age of Enlightenment, it was not an artistic triumph. What chance is there then for the tiny Independent Opera Company? This is a fledgling organisation, run on a shoestring. Orlando is only their second production. It would be totally unfair to expect them to pull off a miracle which has eluded so many, up to and including the Royal Opera House.
The real problem with this opera is that modern audiences find it hard to sit through three hours of repetitive recitative, and a plot that defies logic. What impressed me is how the company turned the difficulties facing them around. In the process, they thought the opera through. They approach the opera on Handel’s own terms. Alessandro Talevi, the Artistic Director, has enough faith in the merit of the opera that he can dispense with fancy props and let its inherent ideas shine through.
The whole point of Orlando is “triumph over adversity”. Orlando was a hero in the past but is now beset by problems he can’t comprehend. The opera begins with the usual conventions of love and false love, but from that point everything unravels. Misunderstandings and mishaps pile up relentlessly. This production takes the very deviousness of the plot as a starting point : its focus is the anarchy of fate, not the solution. Suddenly, Handel seems surprisingly relevant to our times.
The seats in the cramped Lilian Baylis Theatre rise steeply upwards, barely a yard from the platform edge, and the stage itself is impossibly narrow. To increase performing space, a tilted ellipse was built on the main platform, with a pit in the middle. Obviously, it would have seemed less claustrophobic in a more spacious theatre, but the ellipse had practical benefits. It created a four dimensional effect with an illusion of foreground and background. Moreover the hollow gave the cast cover so they could disappear, move and pop up again at will. It also meant that the orchestra, (conducted by Gary Cooper), could be accommodated literally in the heart of the action. Seeing them as well as hearing them enhanced the sense of “circles within circles”.
Ultimately, what made this production was its thoughtful understanding of the dynamics of character. William Towers’ dark timbres portray Orlando as an action man more prone to mindless violence than to thinking, but by Act Two, he convincingly turns the violence inwards. Even the ties that bind his costume unravel as he descends into madness. Tower has natural stage presence and has sung Medoro and Farnace at Covent Garden. Rebecca Ryan’s extensive experience showed in the aplomb with which she created the demanding role of Angelika. Joana Seara, a recent Guildhall graduate, was a charming Dorinda, tending her garden and pet nightingale. Christopher Ainslie was a golden Medoro vocally and visually. Nicolas Warden’s Zoroastro had authoritative presence. In this spare, minimalist production, lighting propels the narrative where scenery might do so otherwise. Shadow puppets and silhouettes make much more mysterious monsters. Zoroastro gets some wonderful moments, such as when he raises his hand and the lighting creates a pattern of words, rising up to fill the stage in synch with his arms. When he calls on the heavens, suddenly the stage is lit up by a projection of the earth seen from space. It’s a cosmic moment, with timeless, magical resonance.
It is imaginative details like this which show that there’s genuine talent in small companies like Independent Opera. There’s no way they can, or should be expected to perform at the level of major houses. Nonetheless, they should be nurtured, supported and cherished. Channel their enthusiasm wisely, and it could benefit all opera in the long term.