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

Peter Sellars' kinaesthetic vision of Lasso's Lagrime di San Pietro

On 24th May 1594 just a few weeks before his death on 14 June, the elderly Orlando di Lasso signed the dedication of his Lagrime di San Pietro - an expansive cycle of seven-voice penitential madrigale spirituali, setting vernacular poetry on the theme of Peter’s threefold denial of Christ - to Pope Clement VIII.

Karlheinz Stockhausen: Donnerstag aus Licht

Stockhausen was one of the most visionary of composers, and no more so than in his Licht operas, but what you see can often get in the way of what you hear. I’ve often found fully staged productions of his operas a distraction to the major revelation in them - notably the sonorities he explores, of the blossoming, almost magical acoustical chrysalis, between voices and instruments.

David McVicar's Andrea Chénier returns to Covent Garden

Is Umberto’s Giordano’s Andrea Chenier a verismo opera? Certainly, he is often grouped with Mascagni, Cilea, Leoncavallo and Puccini as a representative of this ‘school’. And, the composer described his 1876 opera as a dramma de ambiente storico.

Glyndebourne presents Richard Jones's new staging of La damnation de Faust

Oratorio? Opera? Cantata? A debate about the genre to which Berlioz’s ‘dramatic legend’, La damnation de Faust, should be assigned could never be ‘resolved’.

Hampstead Garden Opera presents Partenope-on-sea

“Oh! I do like to be beside the seaside! I do like to be beside the sea!” And, it was off to the Victorian seaside that we went for Hampstead Garden Opera’s production of Handel’s Partenope - not so much for a stroll along the prom, rather for boisterous battles on the beach and skirmishes by the shore.

Henze's Phaedra: Linbury Theatre, ROH

A song of love and death, loss and renewal. Opera was born from the ambition of Renaissance humanists to recreate the oratorical and cathartic power of Greek tragedy, so it is no surprise that Greek myths have captivated composers of opera, past and present, offering as they do an opportunity to engage with the essential human questions in contexts removed from both the sacred and the mundane.

Actress x Stockhausen Sin {x} II - a world premiere

Is it in any sense aspirational to imitate - or even to try to create something original - based on one of Stockhausen’s works? This was a question I tried to grapple with at the world premiere of Actress x Stockhausen Sin {x} II.

The BBC Singers and the Academy of Ancient Music join forces for Handel's Israel in Egypt

The biblical account of the Exodus of the Israelites from Egypt is the defining event of Jewish history. By contrast, Handel’s oratorio Israel in Egypt has struggled to find its ‘identity’, hampered as it is by what might be termed the ‘Part 1 conundrum’, and the oratorio has not - despite its repute and the scholarly respect bestowed upon it - consistently or fully satisfied audiences, historic or modern.

Measha Brueggergosman: The Art of Song – Ravel to John Cage

A rather charming story recently appeared in the USA of a nine-year old boy who, at a concert given by Boston’s Handel and Haydn Society, let out a very audible “wow” at the end of Mozart’s Masonic Funeral Music. I mention this only because music – whether you are neurotypical or not – leads to people, of any age, expressing themselves in concerts relative to the extraordinary power of the music they hear. Measha Brueggergosman’s recital very much had the “wow” factor, and on many distinct levels.

World premiere of Cecilia McDowall's Da Vinci Requiem

The quincentennial of the death Leonardo da Vinci is one of the major events this year – though it doesn’t noticeably seem to be acknowledged in new music being written for this.

Aribert Reimann’s opera Lear at Maggio Musicale Fiorentino

In 1982, while studying in Germany, I had the good fortune to see Aribert Reimann’s opera Lear sung in München by the original cast, which included Dietrich Fischer-Dieskau, Júlia Várady and Helga Dernesch. A few years later, I heard it again in San Francisco, with Thomas Stewart in the title role. Despite the luxury casting, the harshly atonal music—filled with quarter-tones, long note rows, and thick chords—utterly baffled my twenty-something self.

Berlioz’s Requiem at the Concertgebouw – earthshakingly stupendous

It was high time the Royal Concertgebouw Orchestra programmed Hector Berlioz’s Grande Messe des morts. They hadn’t performed it since 1989, and what better year to take it up again than in 2019, the 150th anniversary of Berlioz’s death?

Matthew Rose and Friends at Temple Church

I was very much looking forward to this concert at Temple Church, curated by bass Matthew Rose and designed to celebrate music for voice commissioned by the Michael Cuddigan Trust, not least because it offered the opportunity to listen again to compositions heard recently - some for the first time - in different settings, and to experience works discussed coming to fruition in performance.

Handel's Athalia: London Handel Festival

There seems little to connect the aesthetics of French neoclassical theatre of the late-seventeenth century and English oratorio of the early-eighteenth. But, in the early 1730s Handel produced several compositions based on Racine’s plays, chief among them his Israelite-oratorios, Esther (1732) and Athalia (1733).

Ravel’s L’heure espagnole: London Symphony Orchestra conducted by François-Xavier Roth

Although this concert was devoted to a single composer, Ravel, I was initially a little surprised by how it had been programmed. Thematically, all the works had the essence of Spain running through them - but chronologically they didn’t logically follow on from each other.

Breaking the Habit: Stile Antico at Kings Place

Renaissance patronage was a phenomenon at once cultural, social, political and economic. Wealthy women played an important part in court culture and in religious and secular life. In particular, music, musical performances and publications offered a female ruler or aristocrat an important means of ‘self-fashioning’. Moreover, such women could exercise significant influence on the shaping of vernacular taste.

The Secrets of Heaven: The Orlando Consort at Wigmore Hall

Leonel Power, Bittering, Roy Henry [‘Henry Roi’?], John Pyamour, John Plummer, John Trouluffe, Walter Lambe: such names are not likely to be well-known to audiences but alongside the more familiar John Dunstaple, they were members of the generation of Englishmen during the Middle Ages whose compositions were greatly admired by their fellow musicians on the continent.

Manitoba Opera: The Barber of Seville

Manitoba Opera capped its season on a high note with its latest production of Rossini’s The Barber of Seville, sung in the key of goofiness that has inspired even a certain “pesky wabbit,” a.k.a. Bugs Bunny’s The Rabbit of Seville.

Handel and the Rival Queens

From Leonardo vs. Michelangelo to Picasso vs. Matisse; from Mozart vs. Salieri to Reich v. Glass: whether it’s Maria Callas vs. Renata Tebaldi or Herbert von Karajan vs. Wilhelm Furtwängler, the history of culture is also a history of rivalries nurtured and reputations derided - more often by coteries and aficionados than by the artists themselves.

Britten's Billy Budd at the Royal Opera House

“Billy always attracted me, of course, the radiant young figure; I felt there was going to be quite an opportunity for writing nice dark music for Claggart; but I must admit that Vere, who has what seems to me the main moral problem of the whole work, round [him] the drama was going to centre.”

OPERA TODAY ARCHIVES »

Performances

Pascal Bertin, Damien Guillon and Brigitte Hool (Copyright Nice Opera)
20 Mar 2007

Teseo — Handel by the Sea

Nice Opera, on the French Cote d’Azur, seemed a most suitable place for this early work by Handel.

G. F. Handel: Teseo

Opéra de Nice, 18 March 2007
Photo courtesy of Opéra de Nice

 

The opera house itself is a stone’s throw from the Mediterranean and, with the pale blue shallows merging into the proverbial “wine dark sea” of legend beyond, it didn’t take much of a leap of the imagination to envisage these waters carrying the ships of Theseus, Aegeus and Medea to their immortality. Helping this conceit along was the fact that this particular production designed by Gilbert Blin and conducted from the violin by Gilbert Bezzina pulled absolutely no punches in terms of the oft-maligned term “authentic”. If the great man himself had time-travelled from 1714 to 2007 and walked into the theatre as the curtain rose, he surely would have nodded approvingly at everything he saw beyond the footlights and, mostly, heard from the pit.

Make no mistake; this was very serious opera seria. From the painted clouds to the bewigged and silken-gowned protagonists, from the hand-shaken thunder machine to the monsters rolled on from the sides, this was as near to an authentic experience of baroque opera as might be achieved today. Its quaint charm - not to mention the gorgeous stuffs of the costumes - beguiled the eye at every turn. So much so in fact, that it was all too easy to almost ignore occasional vocal lapses that elsewhere in a starker, more real-politik, setting might have been more prominent.

These lapses were highlighted by the fact that in terms of even Handel’s soundscapes, Teseo is unusual. There is no bass or tenor role, and the characters are sung by sopranos (both male and female), mezzo-sopranos and, today, counter-tenors. When the mixed chorus including lower voices occasionally makes a vocal entrance it thus has a surprisingly sonorous effect. The mainly French speaking cast of principles are not widely known beyond western Europe: soprano Brigitte Hool as the heroine Agilea, who loves Teseo, the returning warrior to the court of King Egeo, was by far the most accomplished and appealing of voices on display with a nice line in delicate ornamentation, good diction and a charming stage personality. In contrast, the wicked-witch character of Medea, that epitome of woman-wronged and vengeful, sung by mezzo soprano Aurelia Legay, was anything but delicate – except in volume which was sadly lacking in the early Acts. By the fourth and fifth she seemed to have found her full voice, but a little late. Egeo, not a large role, was sung by the very experienced French counter-tenor Pascal Bertin who showed a real baroque feel for this music, if not exactly setting the stage alight with his vocalism. The “sub-plot” pair of lovers, so often used by Handel to fill out the stories and the score, were sung by soprano Valerie Gabail (Clitia) and young French counter-tenor Damien Guillon (Arcane). The latter was certainly the most exciting discovery of the performance with a firm vocal production, consistent through the range, and with true alto warmth with no hootiness or recourse to root voice. A young man to watch in this field. Of the principles, that leaves the title role, and here there was disappointment. Having heard male soprano Jacek Laszczowski sing this role in England last year, it was perturbing to hear his obvious vocal problems throughout this production. They seemed to centre on his inability to produce his male soprano effectively in the lower reaches of the recitatives and ariosi. The sounds produced then were not pleasant – in contrast to some of his arias where when he sang at the top of the staff and beyond and his voice produced both beautiful pianissimos and clarion fortes. Let us hope that this is a temporary situation.

Apart from the singers and costumes, much of the authentic feel of this production came from the musical support of the “Ensemble baroque de Nice” – one of the major baroque groups in southern France – ably if somewhat pedantically led from the violin by their Director, Gilbert Bezzina. One could not argue with his reading of the score, but his tempi sometimes dragged down an already-top-heavy (if only by the huge wigs) staging even more than was perhaps inevitable.

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):