Recently in Performances
Director Annabel Arden believes that Rossini’s Il barbiere di Siviglia is ‘all about playfulness, theatricality, light and movement’. It’s certainly ‘about’ those things and they are, as Arden suggests, ‘based in the music’.
George Enescu’s Oedipe was premiered in Paris 1936 but it has taken 80 years for the opera to reach the stage of Covent Garden. This production by Àlex Ollé (a member of the Catalan theatrical group, La Fura Dels Baus) and Valentina Carrasco, which arrives in London via La Monnaie where it was presented in 2011, was eagerly awaited and did not disappoint.
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.
07 Sep 2008
Prom 64 — Rattle conducts the Berlin Philharmonic in Messiaen’s Turangâlìla-symphonie
Because Turangâlìla is such a panorama, taking in Hollywood, Hindus and Peruvians, Wagner and Gurrelieder, it’s easy to assume it’s all surface Technicolor.
At its première a critic heard
only “a tune for Dorothy Lamour in a sarong, a dance for Hindu
hillbillies”. At this Prom, Simon Rattle and the Berlin Philharmonic
proved conclusively how inventive it really is.
Rattle paired the Prelude from Tristan und Isolde with
the Liebestod. Often that’s a risk as it can leave you longing
for the singing, but Rattle had thought the two parts through in orchestral
terms. He makes a case for hearing the opera as "music", on its own terms.
Here, the surging waves of sound "are" the message, not background. He shows
how fundamental the flute part is, weaving throughout, commenting without
words. The transition was particularly well blended, one part fading
gradually into the next, like a fade in film gradually coming back into full
color focus. It is cinematic – how Wagner might have loved the movies
Wagner is an appropriate curtain raiser for Messiaen's
Turangâlìla. As a young boy, Messiaen studied Pelléas et
Mélisande, and also inherited the long standing French fascination for
the exotic and "oriental" - think Pierre Loti, Ravel, Maurice Delage and the
Impressionists studying Japanese painting. Wagner was by no means the
dominant influence on Messiaen, but his oceans swells and undercurrents live
on in Turângalìla, as Rattle so clearly demonstrated, stretching the
string lines with soaring, surging magnificence. Messiaen's "trajectory", to
use a favorite Boulez expression, comes not from conventional symphonic
development but from thematic ideas, so this oceanic surge is important.
For the first time, I really understood the sixth section, Le Jardin
du sommeil d'amour. It's slow, almost a relief after the hectic,
inventive fifth section, and has its longueurs. But maybe that's what
Messiaen was getting at. The lovers are together when they're asleep, in
dreams, when the moon pulls the tides that create the waves in the ocean.
It's not as spectacular as the glorious Joie du Sang des étoiles,
but as with so much Messiaen. he's at his most profound when he’s
The Tristan und Isolde concept had even more personal meaning for
Messiaen. He had fallen in love with Yvonne Loriod, but he was married, and,
as devout Catholics, they could not marry until released by his wife’s
death. He "was" Tristan and she Isolde, and Turângalìla is their
mystical union. Hence the significance of the “paganism” in
Turângalìla. Messiaen was fascinated by non-western music, adopting
ideas such as the Indian deçi-tâla rhythms which feature in this piece.
Anyone who’s seen Hindu erotic sculptures can appreciate the concept of
sex as a form of spiritual enhancement, that breaks past the restraint of
western moral convention. So Turângalìla isn’t meant to be
polite “Good Taste”. Those sassy brass passages and almost
Gershwin-like punchiness are essential keys to the spirit of the work. The
famous "statue" theme on brass and clarinet "Flower" themes are "male" and
"female". No wonder Rattle placed such emphasis on how they intertwine,
flirting with each other, so to speak. Pierre-Laurent Aimard's piano and
Tristan Murail's ondes Martenot form a second pair of relationships within
the whole, connecting to percussion and winds, picked up by harp and strings.
Aimard's long solo passages are the unspoken "heart", rather like the flute
in Tristan und Isolde.
The Berlin Philharmonic played with extraordinarily beautiful, transparent
textures – how the brass fanfares shone ! This orchestra can be relied
upon for superlative orchestral color, so what was even more impressive was
how the Berliners took to Messiaen, whose music is so very different to their
mainstream core repertoire. Somehow Rattle inspired them so they played with
free spirited exuberance, capturing the exhilarating intoxication so crucial
to this composer’s idiom. The “bad taste” of
Turângalìla may shock, but it’s the exaltation of spirit that
connects mortals to the divine.
Turângalìla was commissioned by Serge Koussevitsky and premiered
by Leonard Bernstein who hated the piece and refused ever to conduct it
again. Perhaps it’s fortunate as he probably didn’t understand
its internal architecture. Nagano and Salonen have a firm grasp of the
energetic muscularity that animates the piece, but Rattle and the Berlin
Philarmonic exceeded all expectations, marrying technical perfection to
electrifying verve. This performance truly expressed how original and radical
Messiaen really can be.