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“If I lacked ears, it would be bad, but still more bearable; but lacking a nose, a man is devil knows what: not a bird, not a citizen—just take and chuck him out the window!”
A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
Francesco Cavalli’s La Calisto was the composer’s ﬁfteenth opera, and the ninth to a libretto by Giovanni Faustini (1615-1651). First performed at the Teatro Sant’Apollinaire in Venice on 28th November 1651, the opera by might have been sub-titled ‘Gods Behaving Badly’, so debauched are the deities’ dalliances and deviations, so egotistical their deceptions.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure,
this new production presents the plot as the dying protagonist’s feverish
hallucinations. The result is a frosty retelling of what is arguably
Puccini’s most hot-blooded opera. Musically, the performance also left
much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang
bergetar akan terhapus.” (“The transient cannot hold on to stars
lost in the Milky Way; that which quivers will be erased.”) As soprano
Tony Arnold sang these words of Tony Prabowo’s chamber opera
Pastoral, with astonishingly crisp Indonesian diction, the first night
of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
New from Oehms Classics, Walter Braunfels Orchestral Songs Vol 1. Luxury singers - Valentina Farcas, Klaus Florian Vogt and Michael Volle, with the Staatskapelle Weimar, conducted by Hansjörg Albrecht.
Manitoba Underground Opera took audiences on a journey — literally and
figuratively — as it presented its latest installment of repertory opera
between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value
a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
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