Recently in Reviews
Opera Philadelphia deserves congratulations on yet another coup. The company
co-commissioned Cold Mountain, an opera by Jennifer Higdon based on
Gene Scheer’s adaptation of Charles Frazier’s celebrated Civil War
For their first of two recitals at the Wigmore Hall, Christian Gerhaher and Gerold Huber devised an interesting programme - popular Schubert mixed with songs by Wolfgang Rihm and by Huber himself.
There are not many opera productions that you would cross oceans to see. Graham
Vick’s Götterdämmerung in Sicily however compelled such a voyage.
Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.
Robert Ashley’s opera-novel Quicksand makes for a novel
One of the leading Russian composers of his generation, Alexander
Raskatov’s reputation in the UK and western Europe derives from several,
recent large-scale compositions, such as his reconstruction of Alfred
Schnittke’s Ninth Symphony from a barely legible manuscript (the work was
first performed in 2007 in the Dresden Frauenkirche by the Dresden Philharmonic
under Dennis Russell Davies), and his 2010 opera A Dog’s Heart,
based on Mikhail Bulgakov’s satire (which was directed by Simon McBurney
at English National Opera in 2010, following the opera’s premiere at
Netherlands Opera earlier that year).
I’m not sure that St John’s Smith Square was the most
appropriate venue for Opera Danube’s latest production: Jacques
Offenbach’s satirical frolic, Orpheus in the Underworld.
This nasty little opera evening in Lyon lived up to the opera’s initial reputation as pure pornophony. This is the erotic Shostakovich of the D minor cello sonata, it is the sarcastic and complicated Shostakovich of The Nose . . .
During December 2015 and presently in January Lyric Opera of Chicago has featured the world premiere of the opera Bel Canto, with music by Jimmy López and libretto by Nilo Cruz, based on the novel by Ann Patchett.
Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.
The title role is a deciding factor in Madama Butterfly. Despite a
last-minute conductor cancellation, last Saturday’s concert performance
at the Concertgebouw was a resounding success, thanks to Lianna
Haroutounian’s opulent, heart-stealing Cio-Cio-San.
With this performance of vocal and instrumental works composed by the
10-year-old Mozart and his contemporaries during 1766, Classical Opera entered
the second year of their 27-year project, MOZART 250, which is
designed to ‘contextualise the development and influences of [sic] the
composer’s artistic personality’ and, more audaciously, to
‘follow the path that subsequently led to some of the greatest
cornerstones of our civilisation’.
Luca Pisaroni and Wolfram Rieger were due to give the latest installment in the Wigmore Hall's complete Schubert songs series, but both had to cancel at short notice. Fortunately, the Wigmore Hall rises to such contingencies, and gave us Benjamin Appl and Jonathan Ware. Since there's a huge buzz about Appl, this was an opportunity to hear more of what he can do.
The phrase ‘Sunday afternoon concert’ may suggest light, post-prandial entertainment, but soprano Gemma Lois Summerfield and her accompanist, Simon Lepper, swept away any such conceptions in this demanding programme at St. John’s Smith Square.
When, o when, will someone put Peter Sellars and his compendium of clichés
out of our misery?
This recording, made in the Adrian Boult Hall at the Birmingham Conservatoire of Music in June 2014, is the fourth disc in SOMM’s series of recordings with Paul Spicer and the Birmingham Conservatoire Chamber Choir.
Having recently followed some by-ways through the music of Purcell, Monteverdi and Cavalli, L’Arpeggiata turned the spotlight on traditional folk music in this characteristically vibrant and high-spirited performance at the Wigmore Hall.
Edward Gardner brought all his experience as a choral and opera conductor to bear in this stirring performance of Michael Tippett’s A Child of Our Time at the Barbican Hall, with a fine cast of soloists, the BBC Symphony Orchestra and BBC Symphony Chorus.
‘Apt for voices or viols’: eager to maximise sales among the domestic market in Elizabethan England, publishers emphasised that the music contained in collections such as Thomas Morley’s First Book of Madrigals to Four Voices of 1594 was suitable for performance by any combination of singers and players.
It was a single title but a double bill and there was far more happening than Gordon Getty and Claude Debussy. Starting with Edgar Allen Poe.
14 Dec 2008
Riders to the Sea — English National Opera, London Coliseum
Back in June, in my review of The Pilgrim’s Progress at Sadler’s
Wells, I wrote about the valuable and unsurpassed work being done by Richard Hickox to champion the works of Ralph Vaughan Williams in the composer’s centenary year, a project of which this rare staging of Riders to the Sea for ENO was to be the culmination.
Nobody could have anticipated
that the 60-year-old conductor would suffer a fatal heart attack only four
days before ENO’s opening night.
The show went on in Hickox’s memory, led by ENO’s Music Director Edward
Gardner, who had the difficult task of taking on the project in such sad
circumstances. And Vaughan Williams’s opera, based on a play by J.M. Synge,
is a grim work by anybody’s standards. A peasant woman, Maurya, lives in a
coastal hut in the Aran Islands and has had two daughters and six sons; four
of the sons, along with their father and grandfather, have already had their
lives claimed by the sea. The fifth is missing, believed drowned, and fate
dictates it is only a matter of time before the sixth is similarly lost. In
the space of forty-five minutes, both are confirmed dead.
This was an impressive opera-directorial début by the actress and
theatrical director Fiona Shaw, who created an emotionally-intense dynamic
within what’s left of Maurya’s family. Their house is delineated by lighting
only; there are no walls, so there is never any escape from the elements.
Huge, shadowy upturned boat-hulls descend from above the stage, surreal and
coffin-like. Tom Pye’s wonderfully bleak, craggy set is suggestive of a place
which exists outside of the progress of time; a primaeval wasteland where
nothing ever changes and all human life is in thrall to the will of
In her final monologue, Maurya finds her anticipated devastation
supplanted by a sense of relief and comfort that her life is no longer
burdened by the certain knowledge of the destiny which awaits all of her
menfolk; in one sense it is a small personal victory over nature, albeit in
the context of an acknowledgement of human powerlessness. Mezzo Patricia
Bardon was extraordinary in this scene, imbuing the music’s lyrical lines
with an radiance that contrasts vividly with the terseness of her earlier
Sopranos Kate Valentine and Claire Booth, both making their ENO débuts,
portrayed Maurya’s two daughters with emotional intelligence and excellent
diction. Leigh Melrose — too long absent from the stage of the Coliseum
— was ideal as the angry, burdened Bartley, the last surviving son.
The opera is well under an hour in length, and rather than staging it as a
double bill with another short work, it was done with a curtain-raiser
— Luonnotar, Sibelius’s 15-minute monologue for solo soprano, in a
simple staging against the backdrop of Dorothy Cross’s unnervingly beautiful
video projections. Singing in the original Finnish, and suspended in the
centre of the stage in an eerie monolith which transpired to be one of the
fateful boat-hulls, Susan Gritton was wonderful as the eponymous air-spirit
who becomes trapped in the sea and inadvertently gives birth to the moon and
stars. It was an inspired choice of opener, introducing the relationship
between the sea and the eternal themes of birth, life, death and maternal
grief which Riders goes on to explore further.
(left to right) Patricia Bardon as Maurya, Leigh Melrose as Bartley and Kate Valentine as Cathleen
The production integrates the two works fully, joining them into a single
piece with a specially-commissioned interlude by John Woolrich, an
organic-sounding progression of abstract chords. Not only does the pregnant
Luonnotar open the performance — she closes it too, re-emerging onto
the stage outside Maurya’s empty home, seemingly ready to give birth once
more and perpetuate the cycle of motherhood.
Susan Gritton as Luonnotar
The orchestral playing was powerful, lyrical and atmospheric in what is
mostly very subtle and understated music; the standard was a fitting tribute
to the late Hickox. It was a superb performance by a fine cast in an
excellent production — but it was never going to be a cheerful
Ruth Elleson © 2008