02 Mar 2008
Peter Grimes by Opera North
Opera North is one of the most innovative opera companies in Britain.
On Thursday evening October 13, Los Angeles Opera transmitted Giuseppe Verdi’s Macbeth live from the Dorothy Chandler Pavilion, in the center of the city, to a pier in Santa Monica and to South Gate Park in Southeastern Los Angeles County. My companion and I saw the opera in High Definition on a twenty-five foot high screen at the park.
Director Richard Jones never met an opera he couldn’t ‘change,’ and Canadian Opera Company’s sumptuously sung Ariodante was a case in point.
“Hi! I’m at the Wigmore Hall!” American mezzo-soprano Jamie Barton’s exuberant excitement at finding herself performing in the world’s premier lieder venue was delightful and infectious. With accompanist James Baillieu, Barton presented what she termed a “love-fest” of some of the duo’s favourite art songs. The programme - Turina, Brahms, Dvořák, Ives, Sibelius - was also surely designed to show-case Barton’s sumptuous and balmy tone, stamina, range and sheer charisma; that is, the qualities which won her the First and Song Prizes at the 2013 BBC Cardiff Singer of the World Competition.
Canadian Opera Company has assembled a commendable Norma that is long on ritual imagery and war machinery.
“If I lacked ears, it would be bad, but still more bearable; but lacking a nose, a man is devil knows what: not a bird, not a citizen—just take and chuck him out the window!”
A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure, this new production presents the plot as the dying protagonist’s feverish hallucinations. The result is a frosty retelling of what is arguably Puccini’s most hot-blooded opera. Musically, the performance also left much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang bergetar akan terhapus.” (“The transient cannot hold on to stars lost in the Milky Way; that which quivers will be erased.”) As soprano Tony Arnold sang these words of Tony Prabowo’s chamber opera Pastoral, with astonishingly crisp Indonesian diction, the first night of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
Manitoba Underground Opera took audiences on a journey — literally and figuratively — as it presented its latest installment of repertory opera between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
Opera North is one of the most innovative opera companies in Britain.
It doesn’t get quite the international attention it deserves, however, because it’s based “up North”, as Londoners would say, in what was once the nation’s industrial heartland. This award-winning production of Britten’s Peter Grimes shows why the company earns its excellent reputation.
Opera North has a real affinity for Britten, so with Phyllida Lloyd as director, this production is something of a milestone in Peter Grimes performance. Lloyd’s style grows from the inner dynamic of the opera. Everything focuses on the music, nothing distracts. The curtain lifts to reveal the corpse of the apprentice who died of thirst while lost at sea. It’s a metaphor for the whole opera. In the trial scene, Grimes is fenced in, claustrophobically, by a wall of pallets, held up by the townsfolk. Later these pallets are the bastions of the church, and the walls of the pub. It’s a simple device but effective, underlining the fundamental conflict between Grimes and the populace who inoculate themselves from the outside world with prayer and drink. Britten embeds this dichotomy firmly within his music. The “church” chorus and Ellen Orford’s monologue with the boy exist in parallel, without interaction. There’s drama enough in the orchestra, so Lloyd keeps things simple. Similarly, she doesn’t need to depict the sea, as such. Britten’s cadences sweep upwards and down like waves. “A ceaseless motion”, goes the text, “comes and goes like the tide,…rolls and ebbs, terrible and deep”.
This uncompromising focus on the drama in the music intensifies the disturbing psychological aspects of the opera. Jeffrey Lloyd-Roberts’s Grimes was perceptive : he’s not meant to be sympathetic, but neither is he an object of hate. He may be cruelly insensitive, but both boys died of natural causes. This role requires a wide range, which Lloyd-Roberts delivers. He created Grimes when this production was premièred in October 2006, and much of the depth of the characterisation is due to him. If on this particular evening, his voice was a little tired at first, he vindicated himself totally in the “What is home” scene, when Grimes confronts the horror of his situation. This time, “the tide will not turn”, he will not “begin again”. The intensity of Lloyd-Roberts performance makes his decision to die at sea completely logical. That last scene, where the townsfolk sing of the tide pulling back out to sea “with string magnetic speed” was magical. Grimes is absorbed into the sea, and for a few moments, something quite magical happens in the orchestra, as the strings surge and the flute rises luminously above. This ending was brilliant, for Lloyd understands that, throughout the opera, Britten has stressed the relentless hard grind of the fishermen’s lives. “This unrelenting work”, as Ellen sings, that lets up for no man. So as the music fades, but on stage, the rhythm of life continues…..it’s a small detail, but expressing the spirit of the opera very perceptively.
Unlike some more matronly Ellen Orfords, Giselle Allen‘s vibrant characterisation gave a strong sexual charge to her relationship with Grimes. This is important to the interpretation of the opera, because it shows why Grimes drives himself so hard, because he wants to make a new life with Ellen, whom he sees as his redemption. He pushes his apprentices harshly because life at sea is harsh, as no doubt he learned himself a boy. Sexuality is a theme in this opera, from which this production bravely does not shirk away. The townsfolk hint that there’s something unhealthy about Grimes and his boys, so they mount a witch hunt. The chorus “Bring the branding iron and fire” was sung with frenzied energy, hinting that perhaps Grimes wasn’t the only person with desires to suppress. Indeed, Britten makes this clear in the text. Auntie and her “nieces” most certainly provide an outlet for some. As Auntie says, she and her girls say, “we comfort men”. One of the more disturbing, but entirely trenchant, aspects of this production was that the nieces were portrayed as children, one wearing pink and blue with white knee
socks. She’s underage, just like the boys Grimes is hunted down for harming. When she’s propositioned by the town lawyer, that pillar of society, the text is painfully explicit, but some productions shy away. Currently in the UK news, there’s a huge story about child abuse in Jersey, apparently covered up by official whitewash, so watching this production was decidedly uncomfortable. But it serves to show that Britten knew far more about hypocrisy and sexual bullying than he was able to articulate. In 1945, productions couldn’t really confront these issues openly. Now, we are unfortunately more able to appreciate just how deeply Britten understood the pain.
Yet Britten doesn’t judge. In contrast, Mrs Smedley delights in judging. “Crime is my hobby” she says. Although she’s right to be concerned about the boys, her motivation isn’t their welfare, but her own enjoyment of misery. Ethna Robinson’s Mrs Smedley bristles with barely contained hysteria, in contrast to Jonathan Summer’s Captain Balstrode, who stands for common sense. Good vignette parts all round, especially Yvonne Howard’s Auntie and Roderick Williams’s Ned Keene.
Claire Booth as Niece 2, Yvonne Howard as Auntie and Amy Freston as Niece 1.
Britten valued the orchestral elements in this opera so much that the Sea Interludes are often performed on their own as concert pieces. Farnes’s conducting was precise and muscular : there’s ambiguity aplenty in the music, so there shouldn’t be in performance. The solos, flute, violin and oboe were particularly moving, like extra voices, commenting on the action. What made this production, however, was the way it was built around the music. A lot of fuss is made of directing style, but in this case, the direction served totally to reveal deeper levels of meaning. The secret, I suspect, is “know your composer” and “know your opera”, through and through. Anyone wanting further evidence of Lloyd’s work with Opera North on Britten might be interested in their DVD of Gloriana.
Anne Ozorio © 2008