Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

ETO Autumn 2020 Season Announcement: Lyric Solitude

English Touring Opera are delighted to announce a season of lyric monodramas to tour nationally from October to December. The season features music for solo singer and piano by Argento, Britten, Tippett and Shostakovich with a bold and inventive approach to making opera during social distancing.

Love, always: Chanticleer, Live from London … via San Francisco

This tenth of ten Live from London concerts was in fact a recorded live performance from California. It was no less enjoyable for that, and it was also uplifting to learn that this wasn’t in fact the ‘last’ LfL event that we will be able to enjoy, courtesy of VOCES8 and their fellow vocal ensembles (more below …).

Dreams and delusions from Ian Bostridge and Imogen Cooper at Wigmore Hall

Ever since Wigmore Hall announced their superb series of autumn concerts, all streamed live and available free of charge, I’d been looking forward to this song recital by Ian Bostridge and Imogen Cooper.

Treasures of the English Renaissance: Stile Antico, Live from London

Although Stile Antico’s programme article for their Live from London recital introduced their selection from the many treasures of the English Renaissance in the context of the theological debates and upheavals of the Tudor and Elizabethan years, their performance was more evocative of private chamber music than of public liturgy.

A wonderful Wigmore Hall debut by Elizabeth Llewellyn

Evidently, face masks don’t stifle appreciative “Bravo!”s. And, reducing audience numbers doesn’t lower the volume of such acclamations. For, the audience at Wigmore Hall gave soprano Elizabeth Llewellyn and pianist Simon Lepper a greatly deserved warm reception and hearty response following this lunchtime recital of late-Romantic song.

The Sixteen: Music for Reflection, live from Kings Place

For this week’s Live from London vocal recital we moved from the home of VOCES8, St Anne and St Agnes in the City of London, to Kings Place, where The Sixteen - who have been associate artists at the venue for some time - presented a programme of music and words bound together by the theme of ‘reflection’.

Iestyn Davies and Elizabeth Kenny explore Dowland's directness and darkness at Hatfield House

'Such is your divine Disposation that both you excellently understand, and royally entertaine the Exercise of Musicke.’

Paradise Lost: Tête-à-Tête 2020

‘And there was war in heaven: Michael and his angels fought against the dragon; and the dragon fought and his angels, And prevailed not; neither was their place found any more in heaven … that old serpent … Satan, which deceiveth the whole world: he was cast out into the earth, and his angels were cast out with him.’

Joyce DiDonato: Met Stars Live in Concert

There was never any doubt that the fifth of the twelve Met Stars Live in Concert broadcasts was going to be a palpably intense and vivid event, as well as a musically stunning and theatrically enervating experience.

‘Where All Roses Go’: Apollo5, Live from London

‘Love’ was the theme for this Live from London performance by Apollo5. Given the complexity and diversity of that human emotion, and Apollo5’s reputation for versatility and diverse repertoire, ranging from Renaissance choral music to jazz, from contemporary classical works to popular song, it was no surprise that their programme spanned 500 years and several musical styles.

The Academy of St Martin in the Fields 're-connect'

The Academy of St Martin in the Fields have titled their autumn series of eight concerts - which are taking place at 5pm and 7.30pm on two Saturdays each month at their home venue in Trafalgar Square, and being filmed for streaming the following Thursday - ‘re:connect’.

Lucy Crowe and Allan Clayton join Sir Simon Rattle and the LSO at St Luke's

The London Symphony Orchestra opened their Autumn 2020 season with a homage to Oliver Knussen, who died at the age of 66 in July 2018. The programme traced a national musical lineage through the twentieth century, from Britten to Knussen, on to Mark-Anthony Turnage, and entwining the LSO and Rattle too.

Choral Dances: VOCES8, Live from London

With the Live from London digital vocal festival entering the second half of the series, the festival’s host, VOCES8, returned to their home at St Annes and St Agnes in the City of London to present a sequence of ‘Choral Dances’ - vocal music inspired by dance, embracing diverse genres from the Renaissance madrigal to swing jazz.

Royal Opera House Gala Concert

Just a few unison string wriggles from the opening of Mozart’s overture to Le nozze di Figaro are enough to make any opera-lover perch on the edge of their seat, in excited anticipation of the drama in music to come, so there could be no other curtain-raiser for this Gala Concert at the Royal Opera House, the latest instalment from ‘their House’ to ‘our houses’.

Fading: The Gesualdo Six at Live from London

"Before the ending of the day, creator of all things, we pray that, with your accustomed mercy, you may watch over us."

Met Stars Live in Concert: Lise Davidsen at the Oscarshall Palace in Oslo

The doors at The Metropolitan Opera will not open to live audiences until 2021 at the earliest, and the likelihood of normal operatic life resuming in cities around the world looks but a distant dream at present. But, while we may not be invited from our homes into the opera house for some time yet, with its free daily screenings of past productions and its pay-per-view Met Stars Live in Concert series, the Met continues to bring opera into our homes.

Precipice: The Grange Festival

Music-making at this year’s Grange Festival Opera may have fallen silent in June and July, but the country house and extensive grounds of The Grange provided an ideal setting for a weekend of twelve specially conceived ‘promenade’ performances encompassing music and dance.

Monteverdi: The Ache of Love - Live from London

There’s a “slide of harmony” and “all the bones leave your body at that moment and you collapse to the floor, it’s so extraordinary.”

Music for a While: Rowan Pierce and Christopher Glynn at Ryedale Online

“Music for a while, shall all your cares beguile.”

A Musical Reunion at Garsington Opera

The hum of bees rising from myriad scented blooms; gentle strains of birdsong; the cheerful chatter of picnickers beside a still lake; decorous thwacks of leather on willow; song and music floating through the warm evening air.

OPERA TODAY ARCHIVES »

Performances

Paul Nilon (photo: Dallas Opera)
18 Feb 2007

Opera North: Breathing new life into “Orfeo”

Friday night in Leeds, in the North of England, at the city’s marvellously restored Grand Theatre, with the pavements outside shining wet and a tidal wave of umbrellas surging past, was an exciting place to be.

Above: Paul Nilon
Photo: Copyright and courtesy of Dallas Opera

 

I was lured by England’s only national company outside of London, a new production by Christopher Alden of Monteverdi’s seminal masterpiece, and a debut in the role for one of England’s most talented yet under-rated tenors: Paul Nilon. Not one of the three attractions disappointed.

Opera North is on a roll at the moment; it has a beautiful old theatre as its home, decorated in a palette of deep red, green and gold, not to mention some fabulous original Victorian tiling now exposed again in all their glory, and is planning even more work in a Phase Two to bring back to life the adjoining Assembly Rooms as another rehearsal and performance space. Aligned to these physical plans is their continuing commitment to challenge preconceptions of opera, advocating lesser-known works (later this season they are presenting Kaiser’s “Croesus”) and to breathe new life into the classics. You don’t get very much more classic than the opera that virtually invented the art-form, and Christopher Alden has most decidedly set out to challenge a few well-worn notions of this favola in musica.

First of all, the evening’s staging is seamless and without interruption by interval which makes for a long sit — some one and three quarter hours. Secondly, Alden gives us just one physical location with no traditional “descent” into Hades, no Styx, no dark and flaming scenes or flying deities. As the curtain rises we are taken to a large room — possibly a palace or ducal space — floored, walled and canopied in a kind of giant parquet wood effect in shades of brown. The costumes are non-specific modern: jeans or dresses with Tudor touches in the form of the occasional ruff or slashed velvet doublet. A few high niches in the side walls are the only entrances and exits for a necessarily agile cast of singers — each niche must have been at least four feet from the boards. Apart from that, just an array of sofas and easy chairs provided visual detail and a base for the assembly of singers who in turn played the wedding guests, the chorus, the Furies and, the audience. Audience? Yes, in a way they were just that, for in this production Alden and Nilon combine their talents to persuade us that this is not Orfeo as hero, great lover or mystical muse; rather, he is Orfeo the Artist, the Performer, and subject to all the angst therein. His great aria Possente spirto is delivered in the form of a nervous singer giving an audition, complete with hastily-erected music stand, shaking hands and despairing glances at an unmoved Caronte. Equally challenging to the paying audience was the way Alden played with our expectations of the ill-fated Eurydice: she seems anything but delighted to be marrying Orfeo, more than happy when dead, and — a typical Alden touch — when masking-taped to a wall to denote her passage into the Underworld she is transmogrified into the character of Speranza who encourages Orfeo to convince the infernal gatekeeper Caronte to let him follow his love. Caronte spends his time sitting in one of the ubiquitous armchairs, apparently reading the Obituaries column of the Times. A nice touch.

For some in the first night audience (a gratifyingly full house) these ideas pushed them out of their comfort zone; but even if Alden’s love-affair with masking tape (used not only to fix poor Eurydice upright to a wall, but also to delineate Pluto’s kingdom and occasionally confine Orfeo) irritated some, then there could be no argument with the quality of the music making. Quite simply it was fine, idiomatic, and intensely stylistic throughout without ever making the mistake of sounding overly “old” or pedantic. Chris Moulds directed a twenty-strong period band, each element of which accompanied different characters, different “affects”, in different parts of the story — recorders, cornets, sackbuts and harp adding a rich sonority to the strings and ubiquitous theorbos.

Of the singers, Paul Nilon of course has to carry much of the opera. This was his first attempt at the character, which is surprising when one considers his great experience in baroque and classical roles, but he rose to the challenge and indeed threw down another to singers currently regarded as masters of the role. Nilon is superb when portraying disturbed or emotionally tangled psyches — his Grimoaldo in Handel’s “Rodelinda” springs to mind. His Possente Spirto e formidabil Nume, the great central pivot of the opera, was superbly sung, superbly acted. If it lacked the icy elegance of an Ainsley or Bostridge, in the context of this production’s most human of heroes, it convinced entirely. The desperation, the hope, the desire of every performer to please an audience, in this case the implacable gatekeeper, was in every note and gesture of this intensely written tour de force for the human voice.

The supporting roles were all consistently well sung and acted — Anna Stephany as Eurydice/Speranza is fulfilling her promise as a young English singer to watch, her voice full and coloured, nicely differentiated between the roles. Among the other female voices, Ann Taylor in the dual roles of La Messagiera and Prosperina had a glorious bloom to her voice, and an amusing stage presence when required. The minor male roles were equally consistent in quality of singing — standouts last night being basses Graeme Broadbent (a cavernously voiced Caronte), and Andrew Foster-Williams (a rather amusingly disinterested and randy Plutone). There were no obvious vocal weak links and this alone is a testament to the strength in depth that Opera North can command at present.

This quality was not lost on the local audience or guests: at the end of the performance there were warm ovations for all concerned, well-deserved cheers for our Yorkshire-born Orfeo — and a few cheerfully-received boos for the director. Certainly one can pick holes in some of the director’s conceits in this production: the eliding of Eurydice’s rescue and second death for instance, but safe to say both Alden and Opera North have upheld their avowed traditions in fine style.

© Sue Loder 2007

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):