02 Mar 2008
Peter Grimes by Opera North
Opera North is one of the most innovative opera companies in Britain.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no less than seven concerts in this season’s NTR ZaterdagMatinee series feature works by Adams, including this concert version of his first opera, Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the Royal Concertgebouw, Daniele Gatti, came together for their first engagement in a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and Wiener Philharmoniker, to hear these three top orchestra perform their series programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.
One of Aidan Lang’s first initiatives as artistic director of Seattle Opera was to encourage his board to formulate a “mission statement” for the fifty-year old company. The document produced was clear, simple, and anodyne. Seattle Opera would aim above all to create work appealing both to the emotions and reason of the audience.
Contrary to Stolzi’s multidimensional Parsifal, Holten’s simple setting of Lohengrin felt timeless with its focus on the drama between characters. Premiering in 2012, nothing too flashy and with a clever twist,
Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner productions. This Fall, its productions of Philipp Stölzl's Parsifal and Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it comes down to last minute replacements, the casting is topnotch.
Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.
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