Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

The Hilliard Ensemble: Farewell Concert at Wigmore Hall

Forty-one years is a long time for any partnership to be sustained and to flourish — be it musical, commercial or marital! And, given The Hilliard Ensemble’s ongoing reputation as one of the world’s finest a cappella groups, noted for their performances of works dating from the 11 th century to the present day, it must have been a tough decision to call an end to more than four decades of superlative music-making.

Fidelio opens new season at La Scala

Daniel Barenboim makes a triumphant departure as direttore musicale del Teatro alla Scala with Beethoven’s operatic masterpiece.

Mahler Songs : Christian Gerhaher, Wigmore Hall

Star singer and star composer, a combination guaranteed to bring in the fans. Christian Gerhaher sang Mahler at the Wigmore Hall with Gerold Huber. Gerhaher shot to fame when he sang Wolfram at the Royal Opera House Tannhäuser in 2010.

Modernity vanquished? Verdi Un ballo in maschera, Royal Opera House, London

Verdi’s Un ballo in maschera at the Royal Opera House — a masked ball in every sense, where nothing is quite what it seems.

La Traviata in Ljubljana Slovenia

Small country, small opera house — big ensemble spirit. Internationally acclaimed soprano Natalia Ushakova steps in for indisposed local Violetta with mixed results.

Otello in Bucharest — Moor’s the pity

Bulgarian director Vera Nemirova’s production of Otello for the Romanian National Opera in Bucharest was certainly full of new ideas — unfortunately all bad.

Il trovatore at Lyric Opera of Chicago

For its current revival of the 2006-2007 production of Giuseppe Verdi’s Il trovatore by Sir David McVicar Lyric Opera has assembled a talented quintet of principal singers whose strengths match this conception of the opera.

Mary, Queen of Heaven, Wigmore Hall

O Maria Deo grata — ‘O Mary, pleasing to God’: so begins Robert Fayrfax’s antiphon, one of several supplications to the Virgin Mary presented in this thought-provoking concert by The Cardinall’s Musick at the Wigmore Hall.

Analyzed not demonized — Tristan und Isolde, Royal Opera House

Wagner’s Tristan und Isolde at the Royal Opera House, first revival of the 2009 production, one of the first to attract widespread hostility even before the curtain rose on the first night.

Florencia in el Amazonas Makes Triumphant Return to LA

On November 22, 2014, Los Angeles Opera staged Francesca Zambello’s updated version of Florencia in el Amazonas.

John Adams: The Gospel According to the Other Mary

John Adams and his long-standing collaborator Peter Sellars have described The Gospel According to the Other Mary as a ‘Passion oratorio’.

A new Yevgeny Onegin in Zagreb — Prince Gremin’s Fabulous Pool Party

Superb conducting from veteran Croatian maestro Nikša Bareza makes up for an absurd waterlogged new production of Tchaikovsky’s masterpiece.

Nabucco in Novi Sad

After the horrors of Jagoš Marković’s production of Le Nozze di Figaro in Belgrade, I was apprehensive lest Nabucco in Serbia’s second city of Novi Sad on 27th October would be transplanted from 6th century BC Babylon to post-Saddam Hussein Tikrit or some bombed-out kibbutz in Beersheba.

La Bohème in San Francisco

First Toronto, then Houston and now San Francisco, the third stop of a new production of Puccini's La bohème by Canadian born, British nurtured theater director John Caird.

Radvanovsky Sings Recital in Los Angeles

Every once in a while Los Angeles Opera presents an important recital in the three thousand seat Dorothy Chandler Pavilion.

L’elisir d’amore, Royal Opera

This third revival of Laurent Pelly’s production of Donizetti’s L’elisir d’amore needed a bit of a pep up to get moving but once it had been given a shot of ‘medicinal’ tincture things spiced up nicely.

Samling Showcase, Wigmore Hall

Founded in 1996, Samling describes itself as a charity which ‘inspires musical excellence in young people’.

La cenerentola in San Francisco

The good news is that you don’t have to go all the way to Pesaro for great Rossini.

Rameau: Maître à danser — William Christie, Barbican London

Maître à danser: William Christie and Les Arts Florissants at the Barbican, London, presented a defining moment in Rameau performance practice, choreographed with a team of dancers.

Le Nozze di Figaro — or Sex on the Beach?

The most memorable thing (and definitely not in a good way) about this performance of Le Nozze di Figaro at the Serbian National Theatre in Belgrade was the self-serving, infantile, offensive and just plain wrong production by celebrated Serbian theatre director Jagoš Marković.

OPERA TODAY ARCHIVES »

Performances

Andrew Shore (Punch) / Lucy Schaufer (Judy) [Copyright Catherine Ashmore/English National Opera]
06 May 2008

Punch & Judy at ENO

English National Opera’s production of Harrison Birtwistle’s ‘Punch and Judy’ is the company’s second collaboration with the Young Vic Theatre — following the premiere of Neuwirth’s ‘Lost Highway’ a few weeks earlier — and remarkably, also the second London production of this early Birtwistle work within a month, the previous one having been at the Linbury Studio Theatre, a collaboration between Music Theatre Wales and the Royal Opera.

Harrison Birtwistle: Punch and Judy
English National Opera, Young Vic, April 21, 2008

Andrew Shore (Punch), Lucy Schaufer (Judy), Gillian Keith (Polly), Graham Clark (Lawyer) and Ashley Holland Choregos. Music Director: Edward Gardner. Director: Daniel Kramer.

Above: Andrew Shore (Punch) / Lucy Schaufer (Judy)
All photographs are copyright Catherine Ashmore/English National Opera

 

ENO has one particular coup up its sleeve. There can be few singers as well-suited to the grotesque, tragic-comic figure of Mr Punch as the baritone Andrew Shore, one of ENO’s most distinguished regular guests and a first-rate singing actor. In full puppet costume, he is the cross between a naughty child, a vicious murderous thug and a sinister nightmare figure — a nightmare which eventually implodes on him with the full force of half-a-dozen Punch clones and the ghosts of his victims.

Giles Cadle’s set and costume designs go all-out to replicate the iconic ‘Punch and Judy show’ look, in primary colours that look slightly shabby and sun-bleached. The stage is a circus-ring with a canopy of brightly-coloured fairy lights. But at the back, a freshly-dug grave is a reminder of the macabre inevitability with which Punch’s serial murders will be carried out.

Ashley Holland strikes an imposing figure as the Choregos, a Greek chorus-like figure who acts as a master of ceremonies, a narrator and moral judge, but who falls victim to Punch just like all the others. It is the Choregos and his murder that first blur the distinction between make-believe and reality, an idea which Daniel Kramer’s staging takes further by stripping away the puppet-costumes from the protagonists as events progress and the moral themes of the piece are developed. Most — including the Doctor and Lawyer, played by Graeme Broadbent and Graham Clark respectively — reach this state of human nakedness at the point at which Punch kills them. As for Punch himself, by the time he comes to feel remorse for the murder of his baby — the first of his crimes — he is no more than a bald, half-dressed, vulnerable human being. Only Gillian Keith’s ringletted, hyperactive doll of a Pretty Polly remains in ‘character', a fantasy figure to the last.

Birtwistle’s brutally uncompromising score — which supposedly upset Benjamin Britten so much at the work’s premiere that he walked out of the performance — is usually subtle and understated, atonal but far from tuneless. It juxtaposes banal nursery-ditties with ‘Passion chorales’ and tragic monologue. The insouciance of the little motif with which Punch shrugs off each murder strikes a vivid contrast with the murdered Judy’s plea for Punch’s reform, sung by the versatile American mezzo Lucy Schaufer.

Credit is due to the cast for managing to get the majority of Steven Pruslin’s wordplay-filled libretto across, and to conductor Leo Hussain (sharing the opera’s five-night run with ENO’s Music Director, Edward Gardner) for maintaining such dramatic coherence in the music.

2204ashmore209.pngA scene from Punch and Judy

Ruth Elleson © 2008

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):