02 Mar 2008
Peter Grimes by Opera North
Opera North is one of the most innovative opera companies in Britain.
The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission
Houston Grand Opera commissioned Cruzar la Cara de la Luna from composer José “Pepe” Martínez, music director of Mariachi Vargas de Tecalitlán, who wrote the text together with Broadway and opera director Leonard Foglia. The work had its world premier in 2010. Since then, it has traveled to several cities including Paris, Chicago, and San Diego.
“Why should I go to hear Plácido Domingo” someone said when Verdi’s I due Foscari was announced by the Royal Opera House. There are very good reasons for doing so.
Music Theatre Wales presented the world premiere of Philip Glass’s The Trial (Kafka) last night at the Linbury, Royal Opera House. Music Theatre Wales started doing Glass in 1989. Their production of Glass’s In the Penal Colony in 2010 was such a success that Glass conceived The Trial specially for the company.
To say that the English Concert’s performance of Handel’s Alcina at the Barbican on 10 October 2014 was hotly anticipated would be an understatement. Sold out for weeks, the performance capitalised on the draw of its two principals Joyce DiDonato and Alice Coote and generated the sort of buzz which the work did at its premiere.
Lyric Opera of Chicago opened its sixtieth anniversary season with a new production of Mozart’s Don Giovanni directed by Artistic Director of the Goodman Theater, Robert Falls.
It was a little over two years ago that I heard Sir Colin Davis conduct the Berlioz Requiem in St Paul’s Cathedral; it was the last time I heard — or indeed saw — him conduct his beloved and loving London Symphony Orchestra.
Part of their Liberty or Death season along with Rossini’s Mose in Egitto and Bizet’s Carmen, Welsh National Opera performed David Pountney’s new production of Rossini’s Guillaume Tell (seen 4 October 2014).
Welsh National Opera’s production of Rossini’s Mose in Egitto was the second of two Rossini operas (the other is Guillaume Tell) performed in tandem for their autumn tour.
In Monteverdi’s first Venetian opera, Il Ritorno d’Ulisse (1641), Penelope’s patient devotion as she waits for the return of her beloved Ulysses culminates in the triumph of love and faithfulness; in contrast, in L’incoronazione di Poppea it is the eponymous Queen’s lust, passion and ambition that prevail.
After the triumphs of love, the surprises: Les Paladins, under their director Jérôme Correas, and soprano Sandrine Piau are following their tour of material from their 2011 CD, ‘Le Triomphe de L’amour’, with a new amatory arrangement.
At the ENO, Puccini's La fanciulla del West becomes The Girl of the Golden West. Hearing this opera in English instead of Italian has its advantages, While we can still hear the exotic, Italianate Madama Butterfly fantasies in the orchestra, in English, we're closer to the original pot-boiler melodrama. Madama Biutterfly is premier cru: The Girl of the Golden West veers closer, at times, to hokum. The new ENO production gets round the implausibility of the plot by engaging with its natural innocence.
Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.
Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
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