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

Classical Opera/The Mozartists celebrate 20 years of music-making

Classical Opera celebrated 20 years of music-making and story-telling with a characteristically ambitious and eclectic sequence of musical works at the Barbican Hall. Themes of creation and renewal were to the fore, and after a first half comprising a variety of vocal works and short poems, ‘Classical Opera’ were succeeded by their complementary alter ego, ‘The Mozartists’, in the second part of the concert for a rousing performance of Beethoven’s Choral Symphony - a work described by Page as ‘in many ways the most iconic work in the repertoire’.

Back to Baroque and to the battle lines with English Touring Opera

Romeo and Juliet, Rinaldo and Armida, Ramadès and Aida: love thwarted by warring countries and families is a perennial trope of literature, myth and history. Indeed, ‘Love and war are all one,’ declared Miguel de Cervantes in Don Quixote, a sentiment which seems to be particularly exemplified by the world of baroque opera with its penchant for plundering Classical Greek and Roman myths for their extreme passions and conflicts. English Touring Opera’s 2017 autumn tour takes us back to the Baroque and back to the battle-lines.

Gluck’s Orphée et Eurydice at Lyric Opera of Chicago

Christoph Willibald von Gluck’s Orphée et Eurydice opened the 2017–18 season at Lyric Opera of Chicago.

Michelle DeYoung, Mahler Symphony no 3 London

The Third Coming ! Esa-Pekka Salonen conducted Mahler Symphony no 3 with the Philharmonia at the Royal Festival Hall with Michelle DeYoung, the Philharmonia Voices and the Tiffin Boys’ Choir. It was live streamed worldwide, an indication of just how important this concert was, for it marks the Philharmonia's 34-year relationship with Salonen.

King Arthur at the Barbican: a semi-opera for the 'Brexit Age'

Purcell’s and Dryden’s King Arthur: or the British Worthy presents ‘problems’ for directors. It began life as a propaganda piece, Albion and Albanius, in 1683, during the reign of Charles II, but did not appear on stage as King Arthur until 1691 when William of Orange had ascended to the British Throne to rule as William III alongside his wife Mary and the political climate had changed significantly.

Anne Schwanewilms sings Schreker, Schubert, Liszt and Korngold

On a day when events in Las Vegas cast a shadow over much of the news this was not the most comfortable recital to sit through for many reasons. The chosen repertoire did, at times, feel unduly heavy - and very Germanic - but it was also unevenly sung.

The Life to Come: a new opera by Louis Mander and Stephen Fry

It began ‘with a purely obscene fancy of a Missionary in difficulties’. So E.M. Forster wrote to Siegfried Sassoon in August 1923, of his short story ‘The Life to Come’ - the title story of a collection that was not published until 1972, two years after Forster’s death.

Aida opens the season at ENO

Director Phelim McDermott’s new Aida at ENO seems to have been conceived more in terms of what it will look like rather than what the opera is or might be ‘about’. And, it certainly does look good. Designer Tom Pye - with whom McDermott worked for ENO’s Akhnaten last year (alongside his other Improbable company colleague, costume designer Kevin Pollard) - has again conjured striking tableaux and eye-catching motifs, and a colour scheme which balances sumptuous richness with shadow and mystery.

La Traviata in San Francisco

A beautifully sung Traviata in British stage director John Copley’s 1987 production, begging the question is this grand old (30 years) production the SFO mise en scène for all times.

The Judas Passion: Sally Beamish and David Harsent offer new perspectives

Was Judas a man ‘both vile and justifiably despised: an agent of the Devil, or a man who God-given task was to set in train an event that would be the salvation of Humankind’? This is the question at the heart of Sally Beamish’s The Judas Passion, commissioned jointly by the Orchestra of the Age of Enlightenment and the Philharmonia Baroque of San Francisco.

Choral at Cadogan: The Tallis Scholars open a new season

As The Tallis Scholars processed onto the Cadogan Hall platform, for the opening concert of this season’s Choral at Cadogan series, there were some unfamiliar faces among its ten members - or faces familiar but more usually seen in other contexts.

Stars of Lyric Opera 2017, Millennium Park, Chicago

As a prelude to the 2017-18 season Lyric Opera of Chicago presented its annual concert, Stars of Lyric Opera at Millennium Park, during the last weekend. A number of those who performed in this event will be featured in roles during the coming season.

Die Zauberflöte at the ROH: radiant and eternal

Watching David McVicar’s 2003 production of Die Zauberflöte at the Royal Opera House - its sixth revival - for the third time, I was struck by how discerningly John MacFarlane’s sumptuous designs, further enhanced by Paule Constable’s superbly evocative lighting, communicate the dense and rich symbolism of Mozart’s Singspiel.

Fantasy in Philadelphia: The Wake World

Composer and librettist David Hertzberg’s magical mystery tour that is The Wake World opened to a cheering sold out audience that was clearly enraptured with its magnificent artistic achievement.

A Mysterious Lucia at Forest Lawn

On September 10, 2017, Pacific Opera Project (POP) presented Gaetano Donizetti’s Lucia di Lammermoor in a beautiful outdoor setting at Forest Lawn. POP audiences enjoy casual seating with wine, water, and finger foods at each table. General and Artistic Director Josh Shaw greeted patrons in a “blood stained” white wedding suit. Since Lucia is a Scottish opera, it opened with an elegant bagpipe solo calling members of the audience to their seats.

This is Rattle: Blazing Berlioz at the Barbican Hall

Blazing Berlioz' The Damnation of Faust at the Barbican with Sir Simon Rattle, Bryan Hymel, Christopher Purves, Karen Cargill, Gabor Bretz, The London Symphony Orchestra and The London Symphony Chorus directed by Simon Halsey, Rattle's chorus master of choice for nearly 35 years. Towards the end, the Tiffin Boys' Choir, the Tiffin Girls' Choir and Tiffin Children's Choir (choirmaster James Day) filed into the darkened auditorium to sing The Apotheosis of Marguerite, their voices pure and angelic, their faces shining. An astonishingly theatrical touch, but absolutely right.

Moved Takes on Philadelphia Headlines

There‘s a powerful new force in the opera world and its name is O17.

Philly Flute’s Fast and Furious Frills

If you never thought opera could make your eyes cross with visual sensory over load, you never saw Opera Philadelphia’s razzle-dazzle The Magic Flute.

At War With Philadelphia

Enterprising Opera Philadelphia has included a couple of intriguing site-specific events in their O17 Festival line-up.

The Mozartists at the Wigmore Hall

Three years into their MOZART 250 project, Classical Opera have launched a new venture, The Mozartists, which is designed to allow the company to broaden its exploration of the concert and symphonic works of Mozart and his contemporaries.

OPERA TODAY ARCHIVES »

Performances

Apollo e Dafne
28 Oct 2007

“Apollo e Dafne” — the English Concert at St. Georges, Bristol.

Someone once called Handel’s Italian cantata Apollo e Dafne a “proto-opera” and it’s easy to see why.

G. F. Handel: Apollo e Dafne

The English Concert at St. Georges, Bristol.

 

He wrote it at roughly the same time as his first full-blown opera seria were starting to roll off that amazingly fruitful production line which was to dominate the English opera scene for decades, and it has music and drama of the same high quality, even if the quantity is more limited.

It is a delightful, if sobering, tale of out-of-control sexual desire which leads to loss and regret; an everyday tale of country folk set in the misty mythological past where nymphs, shepherds and passing gods wreak havoc in the Arcadian calm. The amorous god Apollo spots a nubile young wood nymph called Dafne. He becomes entranced and then besotted with her and in the end his unwanted advances force her to reject him in the only way left open to her: she turns herself into a sweet-smelling laurel bush, (forever after known to gardeners as “Daphne”) and Apollo is left to rue his heavy-handed technique, singing a heartbroken tribute to his lost love.

Although this cantata can be viewed as a simple morality tale — and most probably was in 1710 — Handel has lavished the full panoply of his skills upon it, though in miniature form compared to his greater vocal works. He actually started writing it, we think, whilst still in Venice where he was both working and networking among the nobility of that great musical centre of the time. The manuscript had to travel with him when he left for a brief sojourn in Hanover which was where it was completed. This break in the compositional timeframe is not noticeable — the arias and recitatives flow smoothly one to the other with all of the young German’s trademark felicity.

A recent national tour by the renowned baroque ensemble The English Concert has put the spotlight back on to Apollo e Dafne and a recent Friday evening saw them performing it as the semi-staged centre piece of an all-Handel programme for an appreciative audience at St. George’s, Brandon Hill, Bristol. This elegant and acoustically-blessed baroque ex-church was the perfect setting for the English Concert’s stylish and alert playing, where both spirit and refinement were found in equal measure. It was particularly interesting to see the band directed not from the violin, but from the fine baroque oboe of Alfredo Bernardini, who has both worked with some of the best period ensembles in the world, and he brought a touch of Italian musical fire to proceedings as he stood and played his instrument with astounding virtuosity in both the two concerti grossi (No 2 in B flat, and No 3 in G) and a shorter cantata for solo soprano “Ah crudel nel pianto mio”.

This lament was plangently sung by visiting Spanish soprano Nuria Rial, who has an ideal voice for this kind of work — clear, limpid and quite white in tone — and she gave a polished if perhaps musically unadventurous reading of it. What was needed was an injection of Italian brio — and we got it with the entrance of Fulvio Bettini as the importuning god Apollo in the main vocal work of the evening. Bettini is an experienced singer of not only Handel’s meaty baritone roles, but also of the earlier Italian masters such as Monteverdi, and his stage credits go from that period right through to Ravel, Weill and Glass. This kind of theatrical experience showed in his robust performance — his characterisation had a 360 degree aspect and his rich middle and lower range was used to the full, expressing not only the god’s passion, but also his frustration and almost comic exasperation with his unwilling beloved. His final aria, when he mourns his vanished love, “Cara pianta, co'miei pianti” revealed a matching ability with legato line. Nuria Rial was a most believable young wood nymph and her desperation and unease was effectively captured by some stylish and elegant singing with neat ornamentation, most noticeably in the lovely aria “Felicissima quest’alma” where her tone was entrancing. The two singers combined gracefully in the final duetto “Deh, lascia addolcire”.

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):