Recently in Performances
Lyric Opera of Chicago staged Charles Gounod’s Roméo et Juliette as the last opera in its current subscription season.
‘The plot is perhaps the least moral in all opera; wrong triumphs in the name of love and we are not expected to mind.’
Anthony Minghella’s production of Madame Butterfly for ENO is
wearing well. First seen in 2005, it is now being aired for the sixth time and is still, as I observed in 2013, ‘a breath-taking visual banquet’.
This concert version of La straniera felt like a compulsory musicology field trip, but it had enough vocal flashes to lobby for more frequent performances of this midway Bellini.
As poetry is the harmony of words, so music is that of notes; and as poetry is a rise above prose and oratory, so is music the exaltation of poetry.
From experiments with musique concrète in the 1940s, to the
Minimalists’ explorations into tape-loop effects in the 1960s, via the
appearance of hip-hop in the 1970s and its subsequent influence on electronic
dance music in the 1980s, to digital production methods today,
‘sampling’ techniques have been employed by musicians working in
genres as diverse as jazz fusion, psychedelic rock and classical music.
On May 7, 2016, San Diego Opera presented the West Coast premiere of Great Scott, an opera by Terrence McNally and Jake Heggie. McNally’s original libretto pokes fun at everything from football to bel canto period opera. It includes snippets of nineteenth century tunes as well as Heggie's own bel canto writing.
A foiled abduction, a castle-threatening inferno, romantic infatuation, guilt-laden near-suicide, gun-shots and knife-blows: Andrea Leone Tottola’s libretto for Vincenzo Bellini’s first opera, Adelson e Salvini, certainly does not lack dramatic incident.
Opera as an art form has never shied away from the grittier shadows of life. Nor has Manitoba Opera, with its recent past productions dealing with torture, incest, murder and desperate political prisoners still so tragically relevant today.
Published in 1855 as an entertainment for his two daughters, William Makepeace Thackeray’s The Rose and the Ring is a burlesque fairy-tale whose plot — to the author’s wilful delight, perhaps — defies summation and elucidation.
What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.
I suspect that many of those at the Wigmore Hall for The King’s
Consort’s performance of the La Senna festeggiante (The
Rejoicing Seine) were lured by the cachet of ‘Antonio Vivaldi’ and
further enticed by the notion of a lover’s serenade at which the generic
term ‘serenata’ seems to hint.
Having enjoyed superb singing by a young cast of soloists in Classical
Opera’s UK premiere of Jommelli’s Il Vogoleso the
previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final
at the Wigmore Hall confirmed the strength and depth of talent possessed by the
young singers studying in and emerging from our academies and conservatoires.
On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.
Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.
London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.
Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.
On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.
New Co-Production Tristan und Isolde with Metropolitan: Simon
Rattle and Westbroek electrify Treliński’s Opera-Noir.
In an operatic world crowded with sure-fire bread and butter repertoire, Opera San Jose has boldly chosen to lavish a new production on a dark horse, Andre Previn’s A Streetcar Named Desire.
30 Jul 2008
The Pilgrim's Progress at Sader's Wells
The Philharmonia Orchestra has made a far more comprehensive effort than any other British ensemble to celebrate the 50th anniversary of the death of Ralph Vaughan Williams, with concerts taking place over the course of seven months in London, Leicester and Bedford including a complete symphony cycle.
The centrepiece of this season, entitled 'Vaughan Williams: The Pioneering
Pilgrim' were two semi-staged performances of the composer's Bunyan opera
'The Pilgrim's Progress' at London's Sadler's Wells Theatre, dedicated to the
memory of the composer's wife Ursula who died last year. Conductor Richard
Hickox has a real passion for English music, particularly opera, and it was
heartening to see him championing such a rarely-performed stage work.
Devised as a depiction of a generic spiritual journey towards
enlightenment rather than a specifically Christian one (the composer was an
agnostic), the opera (or rather, as it's labelled, the 'morality') is
nonetheless rooted in Biblical texts and Christian hymn-tunes. In fact it is
reminiscent of Elgar's 'Dream of Gerontius' in its tableaux of the
progression of a soul through trials and tests to its ultimate goal, and thus
seems closer to oratorio or cantata than opera, with elements of the pageant
and the mystery-play thrown in. In David Edwards' simple semi-staging,
movement was kept to a minimum, with most of the more abstract characters
moving in a slow, flowing manner as if the motion could be stopped at any
moment to create a freeze-frame of an 'event' in the Pilgrim's travels. On
the one hand, it is a shame that a full staging was not on offer; on the
other, it is a naturally static piece and thus well-suited to this kind of
The ostensible narrator is John Bunyan, sung here by baritone Neal Davies:
though he only in fact appears to frame the piece with a Prologue and
Epilogue, it gives the impression that we are seeing everything through his
own eyes and imagination. The staging had him discovered onstage as if
asleep, ready for his opening line, 'So I awoke, and behold it was a
The cast was made up of a distinguished inventory of mainly British vocal
talent, including most of Hickox's regular collaborators, led by Roderick
Williams as the eponymous Pilgrim, and even extending to Hickox's son Adam as
the (poorly amplified) Woodcutter's Boy. There were some welcome additions
from guest artists in multiple roles, especially the menacing Gidon Saks as
Lord Hate-Good (a disembodied voice over a speaker system from offstage). The
single scene of sardonic comic relief was delivered with aplomb by Richard
Coxon and Andrea Baker as Mr and Madam By-Ends.
Williams's central performance was remarkable; something about his stage
persona is both innocent and timeless, and his singing was always assured
– despite all the obstacles in his path, the Pilgrim never outwardly
falters. His unfailingly beautiful singing was especially impressive in the
role's emotional heart – the monologue based around a passage from
Psalm 22, when the Pilgrim is in prison expecting death. Part-soliloquy,
part-prayer, it is the only time we ever see the turmoil within the Pilgrim's
soul before he realises that his means of escape has been within reach all
Hickox's conducting had a majesty and beauty which made as persuasive a
case for the score as it is ever likely to get, while Philharmonia Voices
– the orchestra's ad-hoc professional choral outfit – managed to
go from being properly lively and vociferous (in the Vanity Fair scene) to
radiantly angelic (in the heavenly passages).
Ruth Elleson © 2008