Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Poliuto, Glyndebourne

Donizetti’s Poliuto at Glyndebourne could well become one of of the great Glyndebourne classics.

Carmen by ENO

Dystopic vision of Carmen, brought to life by vibrantly gripping performances

Pacific Opera Project Presents Ariadne auf Naxos

Pacific Opera Project, a small Los Angeles company, presented a production of Richard Strauss's Ariadne auf Naxos at the Ebell Club with an excellent group of young singers at the beginning of what should be good careers.

Varispeed pushes the possibilities of opera forward with Robert Ashley’s Crash

Six people, dressed in ordinary clothing, sitting in a row at desks adorned only with microphones and glasses of water, and talking for ninety minutes: is it opera?

Rising Stars in Concert, Lyric Opera of Chicago

The spring concert of Rising Stars in Concert, sponsored by and featuring current members of the Patrick G. and Shirley W. Ryan Opera Center at Lyric Opera of Chicago, showcased a number of talents that will no doubt continue to grace the stages of the world’s operatic theaters.

The Singers Sparkle in New York Opera Exchange’s Carmen

New York Opera Exchange’s production of Carmen from May 8th to 10th highlighted that which opera devotees have been saying for years: Opera, far from being dead, is vibrant and evolving.

‘Where’er You Walk’: Handel’s Favourite Tenor

I have sometimes lamented the preference of Ian Page’s Classical Opera for concert performances and recordings over staged productions, albeit that their renditions of eighteenth-century operas and vocal works are unfailingly stylish, illuminating and supported by worthy research.

The Pirates of Penzance, ENO

Topsy Turvy, Mike Leigh’s 1999 film starring Timothy Spall and Jim Broadbent, dramatized the fraught working relationship of William Gilbert and Arthur Sullivan; it won four Oscar nominations (garnering two Academy Awards, for costume and make-up) and is a wonderful exploration of the creative process of bringing a theatrical work to life.

Manitoba Opera: Turandot

There’s little doubt that Puccini’s Turandot is a flawed, illogical fairytale. Yet it continues to resonate today with its undying “love shall conquer all” ethos, where even the most heinous crimes may be forgiven by that which makes the world go ‘round.

Mariachi Opera El Pasado Nunca se Termina Comes to San Diego

On April 25, 2015, San Diego Opera presented it’s second Mariachi opera: El Pasado Nunca se Termina (The Past is Never Finished) by Jose “Pepe” Martinez, Leonard Foglia and Mariachi Vargas de Tecalitlán.

Antonio Pappano: Royal Opera House Orchestral Concerts

Ambition achieved! Antonio Pappano brought the Orchestra of the Royal Opera House out of the pit and onto the stage, the centre of attention in their own right.

Bedřich Smetana: Dalibor, Barbican Hall

Jiří Bělohlávek’s annual Czech opera series at the Barbican, London, with the BBC SO continued with Bedřich Smetana’s Dalibor.

Orlando Explores Art Without Boundaries

R.B. Schlather’s production of Handel’s Orlando asks the enigmatic question: Where do the boundaries of performance art begin, and where do they end?

The Virtues of Things

A good number of recent shorter operas, particularly those performed in this country, made a stronger impression with their libretti than their scores.

Król Roger, Royal Opera

It has taken almost 89 years for Karol Szymanowski’s Król Roger to reach the stage of Covent Garden.

San Diego Opera Celebrates 50 Years of Great Singing

San Diego Opera, the company that General Manager Ian Campbell had scheduled for demolition, proved that it is alive and singing as beautifully as ever. Its 2015 season was cut back slightly and management has become a bit leaner, but the company celebrated its fiftieth season in fine style with a concert that included many of the greatest arias ever written.

Hercules vs Vampires: Film Becomes Opera!

In the early sixties, Italian film director Mario Bava was making pictures with male body builders whose well oiled physiques appeared spectacular on the screen.

J. C. Bach: Adriano in Siria

At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme each season during the next 27 years to exploring the music by Mozart and his contemporaries which was being written and performed exactly 250 years previously.

Bethan Langford, Wigmore Hall

The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.

Tansy Davies: Between Worlds (world premiere)

An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.

OPERA TODAY ARCHIVES »

Performances

Léon Bakst: The Firebird (1910)
07 Sep 2008

Prom 68 — Russian Fairy Tales from Rimsky-Korsakov and Stravinsky

Kashchey is a gnarled old ogre who imprisons a beautiful young princess in his gloomy underworld. It’s classic psychodrama. Kashchey has supernatural powers, so how can the Princess be saved ?

Prom 68 — Rimsky-Korsakov Kashchey the Immortal; Stravinsky The Firebird

Vyacheslav Voynarovsky (Kashchey), Tatiana Monogarova (Princess), Pavel Baransky (Ivan Korolevich), Elena Manistina (Kashcheyevna), Mikhail Petrenko (Storm Knight). BBC Singers. London Philharmonic Orchestra. Vladimir Jurowski (cond.)
5 September 2008, London Albert Hall, London.

 

This Prom paired Rimsky-Korsakov’s Kashchey The Immortal with Stravinsky’s The Firebird, contrasting two resolutions to the fairy tale that’s captured Russian imaginations for centuries.

Rimsky-Korsakov’s short opera focuses on relationships. Kashchey is immortal, but he has a daughter, Kashcheyevna, who holds the secret to his death. She’s just as cold and conniving as he is but she falls in love with the Prince. The Storm Knight brings all four of them together, and the Princess’s love triumphs. Kashcheyevna weeps, and her tears break the spell that makes Kashchey invincible. Love conquers all, yet again. It’s simple but affords opportunities for lushly Romantic musical effects. Music as pictorial as this illustrates so well that meaning can be visualised even if you don’t speak Russian. Kashchey’s music is shrilly angular, evoking his harsh personality as well as the traditional way he’s portrayed, as a skeleton, the symbol of death who cannot actually die. The Storm Knight is defined by wild ostinatos, even though he’s more of a plot device than a character. Some of the most interesting music, though, surrounds Kashcheyevna. When she sings, there are echoes of Kundry, or even Brünnhilde. Harps and woodwinds seem to caress her voice, so when her iciness melts, we sympathise. While the other roles verge on stereotype, Kashcheyevna is more complex, and Manistina impressed.

Stravinsky’s The Firebird, written a mere four years after Kashchey The Immortal, inhabits an altogether different plane. While Rimsky-Korsakov’s music embellishes the vocal line, Stravinsky’s floats free. It “is” the drama. The ballet evolves from the music rather than the other way round. Music for dance has to respect certain restraints, so it’s necessarily quite episodic, but Stravinsky integrates the 21 segments so seamlessly that the piece has lived on, immortal, as an orchestral masterpiece. Vladimir Jurowski is still only in his mid 30’s but has established a reputation for intelligence and sensitivity. Watching him conduct this piece was instructive : he moves with the grace off someone who understands how this music connects to dance. His gestures were understated, yet elegant, his left hand fluttering to restrain the sweep of the strings and keep the tone transparent. This pinpointed how Stravinky wrote cues for physical movement into the music itself. Circular woodwind figures translate into shapes of curved arms, flurries of pizzicato into rapid en pointe. Dancers must hear levels in this music closed to the rest of us, but Jurowski’s intuitive approach helps us appreciate its depths.

The Firebird is a magical figure which materialises out of the air, leading te Prince to Kashchey’s secret garden. Unlike the ogre, the Prince is kind and sets the bird free. He’s rewarded with a magic feather. This time the Princess and other captives are liberated by altruistic love. It’s purer and more esoteric, and Stravinsky’s music is altogether more abstract, imaginative and inventive. Jurowski gets great refinement from the London Philharmonic Orchestra, with whom he’s forged a very close relationship in only a year of being their Chief Conductor. The solo part for horn, for example, plays a role in the music like that of a solo dancer. Textures around it need to be clean as they were here, so its beauty is revealed with poignant dignity. The rest of the orchestra plays barely above the point of audibility, until the flute enters carrying the horn’s melody. Later there’s more magic, when the double basses and cellos are plucked quietly, building up towards the crescendos which sound for all the world like the joyous tolling of great bells. In the finale, trombones and trumpets hail the moment of liberation. The trumpeters stand upright, so their music soars above the orchestra, projected into the auditorium with superb, dramatic effect.

Anne Ozorio

Viktor_Vasnetsov_Kashchey_t.pngKashchey the Immortal by Viktor Vasnetsov

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):