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The Importance of Being Earnest , Gerald Barry’s fifth opera, was commissioned by the Los Angeles Philharmonic Orchestra and the Barbican, and was first performed in concert, Thomas Adès conducting the London premiere.
‘Beauty is the one form of spirituality that we experience through the senses.’ In Thomas Mann’s, Death in Venice, Plato’s axiom stirs the hopes of the aging, intellectually stale poet, Gustav von Aschenbach, that he may rekindle his creativity.
There is a sense in which it all began in London, Puccini having been seized in 1900 with the idea of an opera on this subject after watching David Belasco’s play here.
The tenor that the audience most wanted to hear, Plácido Domingo, opened the vocal program with “Junto al puente de la peña” (Next to the rock bridge) from La Canción del Olvido (The song of Oblivion) by José Serrano. He sounded rested and his voice soared majestically over the orchestra.
Tucked away somewhere in the San Francisco Opera warehouse was an old John Cox production of Così fan tutte from Monte Carlo. Well, not that old by current standards at San Francisco Opera.
Rossini's Maometto Secondo is a major coup for Garsington Opera at Wormsley, confirming its status as the leading specialist Rossini house in Britain. Maometto Secondo is a masterpiece, yet rarely performed because it's formidably difficult to sing. It's a saga with some of the most intense music Rossini ever wrote, expressing a drama so powerful that one can understand why early audiences needed "happy endings" to water down its impact
I suppose it was inevitable that, in this Britten Centenary year, the 66th Aldeburgh Festival would open with Peter Grimes.
Die Entführung aus dem Serail at Garsington Opera at Wormsley isn’t Mozart as you’d expect but it’s true to the spirit of Mozart who loved witty, madcap japes.
What a pity! On a glorious — well, by recent English standards — summer’s day, there can be few more beautiful English countryside settings
than Glyndebourne, with the added bonus, as alas much of the audience appears
to understand it, of an opera house attached.
Described by one critic as “cosmically gifted”, during her tragically short career, American mezzo-soprano Lorraine Hunt Lieberson amazed and delighted audiences with the spellbinding beauty of her singing and the astonishing honesty of her performances.
“I wrote it almost without noticing.” So Verdi declared when reminded of his eighth — and perhaps least frequently performed, opera, Alzira. One might say that, since he composed the work, no-one else has much noticed either.
Just when you thought the protagonist was Hoffmann! Who, rather what stole the show?
When is verismo verily veristic? Or what is a virginal girl dressed in communion white doing in the two murderous acts of the Los Angeles Opera’s current production of Tosca? And why does she sing the shepherd's song?
Wagner’s Lohengrin is not an unfamiliar visitor to the UK thanks,
in the main, to Elijah Moshinsky’s perennial production at Covent Garden.
Philip Glass's The Perfect American at the ENO in London is a visual treat, but the libretto is mind-numbingly anodyne.
Jonathan Dove's Mansfield Park, with libretto by his regular collaborator Alasdair Middleton, has the remarkable distinction of being the first completed operatic adaptation of any Jane Austen novel to be staged.
London’s two principal opera companies have offered a baffling
near-silence as their response to Wagner’s two-hundredth anniversary.
If a recent trio of musically superlative performances at Canadian Opera Company is indicative of their norm, the casting director should get a hefty bonus.
Just when you imagine you’ve got the operatic time-line fixed in your mind
in a clean sweep of what goes where and when and how, you hear another work
from another forgotten corner of the repertory that upends one’s conclusions.
Nothing inspires fable quite like defeat. The great riddle of Spanish
history is how the Christian Visigoths managed to lose the Iberian peninsula to
the Moors in one small battle in 711 and took eight hundred years to get it
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 ?
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
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.
Kashchey the Immortal by Viktor Vasnetsov