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 Reviews

Santa Fe: Secondary Mozart in First Rate Staging

Impresario Boris Goldovsky famously referred to La finta giardiniera as The Phony Farmerette.

Regimented Daughter in Santa Fe

At Santa Fe Opera, Donizetti’s effervescent The Daughter of the Regiment can’t quite decide what it wants to be when it grows up.

Santa Fe’s Celebratory Jester

Santa Fe Opera noted a landmark two-thousandth performance in their distinguished history with a stylish new production of Rigoletto.

Sibelius Kullervo, BBC Proms, London

Why did Jean Sibelius suppress Kullervo (Op7, 1892)? There are many theories why he didn't allow it to be heard after its initial performance, though he referred to it fondly in private.

Aïda at Aspen

Most opera professionals, including the individuals who do the casting for major houses, despair of finding performers who can match historical standards of singing in operas such as Aïda. Yet a concert performance in Aspen gives a glimmer of hope. It was led by four younger singers who may be part of the future of Verdi singing in America and the world.

Prom 53: Shostakovich — Orango

One might have been forgiven for thinking that both biology and chronology had gone askew at the Royal Albert Hall yesterday evening.

Written on Skin at Lincoln Center

Three years ago I made what may have been my single worst decision in a half century of attending opera. I wasn’t paying close attention when some conference organizers in Aix-en-Provence offered me two tickets to the premiere of a new opera. I opted instead for what seemed like a sure thing: William Christie conducting some Charpentier.

Pesaro’s Rossini Festival 2015

The 36th Rossini Opera Festival in Rossini’s Pesaro! La gazza ladra (1817), La gazzetta (1816) and L'inganno felice (1812) — the little opera that made Rossini famous.

Santa Fe: Placid Princess of Judea

Unlike the brush fire in a distant neighborhood of the John Crosby Theatre, Santa Fe Opera’s Salome stubbornly failed to ignite.

Airy and Bucolic Glimmerglass Flute

As part of a concerted effort to incorporate local color and resonance into its annual festival, Glimmerglass has re-imagined The Magic Flute in a transformative woodland setting.

Glimmerglass Conquers Cato

Bravura singing and vibrant instrumental playing were on ample display in Glimmerglass Festival’s riveting Cato in Utica.

Energetic Glimmerglass Candide

Bernstein’s Candide seems to have more performance versions than Tales of Hoffmann.

Die Eroberung von Mexico in Salzburg

That’s The Conquest of Mexico, an historical music drama composed in 1991 by German composer Wolfgang Rihm (b. 1952). But wait. Wolfgang Rihm construed a few sentences of Artaud’s La Conquête du Mexique (1932) mixed up with bits of Aztec chant and bits of poem(s) by Mexico’s Octavio Paz (d. 1998) to make a libretto.

Scottish Sensation at Glimmerglass

Glimmerglass is celebrating its 40th Festival season with a stylish new production of Verdi’s Macbeth.

Norma in Salzburg

This Salzburg Norma is not new news. This superb production was first seen at the Salzburg Festival’s springtime Whitsun Festival in 2013 with this same cast. It will now travel to a few major European cities.

The power of music: a young cast in a semi-stage account of Monteverdi’s first opera

John Eliot Gardiner conducted a much anticipated performance of Monteverdi’s first opera L’Orfeo at the BBC Proms on 4 August 2015, with his own Monteverdi Choir and English Baroque Soloists.

Cold Mountain Wows Audience at Santa Fe World Premiere

On August 1, 2015, Santa Fe Opera presented the world premiere of Cold Mountain, a brand new opera composed by Pulizer Prize and Grammy winner Jennifer Higdon.

Review: You Promised Me Everything

Richard Taruskin entitled his 1988 polemical critique of the notion of ‘authenticity’ in the context of historically informed performance, ‘The Pastness of the Present and the Presence of the Past’.

Manon Lescaut, Munich

Puccini’s Manon Lescaut at the Bayerische Staatsoper, Munich. Some will scream in rage but in its austerity it reaches to the heart of the opera.

Proms Saturday Matinée 1

It might seem churlish to complain about the BBC Proms coverage of Pierre Boulez’s 90th anniversary. After all, there are a few performances dotted around — although some seem rather oddly programmed, as if embarrassed at the presence of new or newish music. (That could certainly not be claimed in the present case.)

OPERA TODAY ARCHIVES »

Reviews

Decorated archway, The Cloisters Museum and Gardens, New York.
23 Dec 2008

The Play of Daniel — A Medieval Music Drama from Beauvais

Can we call The Play of Daniel an opera, or “music drama” (as this performance put it), when such terms did not exist, and would not exist for centuries to come when the piece was devised, around 1200, by the cathedral chapter of Beauvais?

The Play of Daniel— A Medieval Music Drama from Beauvais

Daniel: James Ruff; King Balthasar/Abacuc: Peter Walker; King Darius: José Lemos; Queen/Abacuc’s Angel: Sarah Pillow. Staged by Drew Minter. Mary Anne Ballard, music director. Presented by the Cloisters Museum concert series. Performance of December 21.

Above: Decorated archway, The Cloisters Museum and Gardens, New York.

 

No professional theater culture existed at the time and we do not know what conception the medieval era had of theater, though we can be pretty sure solemn dramas had a religious basis (as they do in every indigenous theater culture) and that music was involved somehow (ditto).

The Play of Daniel, however it was presented in the reign of Philip Augustus (the surviving manuscript does not apportion voices or instruments, much less stage directions), was an early landmark in the work of Noah Greenberg’s New York Pro Musica Antiqua, one of the earliest organizations to delve into early music and perform it with something like scholarly fidelity but also modern theatricality. Their Daniel had its premiere at the Cloisters in 1958, and was later filmed for television. That televised version, shown each year at Christmastime, was a joy of my childhood, when the Cloisters represented, for me, something of a dream palace. The staging, which based costume, movement, attitude, and primitive but graceful special effects on medieval illustration, was also magical – and besides, it was my first exposure to Early Music. The annual showing ended, alas, around 1969, when Channel 13 began to broadcast in color and assumed no one would want to watch a black and white film (they were so wrong!), and that film evidently survives only in a damaged kinescope – it’s not even on Youtube.

The Early Music revival has been one of the triumphs of recent times (its history is a grand book idea, if some author out there is looking for one). Today there are dozens of groups of every size touring the world with once-forgotten repertory and style, and Early Music concerts sell out from Moscow to Seattle. Once obliged to depend on academic day jobs, musicians can now make careers performing the work of once-forgotten eras. Yet the sophistication, the musicality, the wit of Greenberg’s troupe have seldom been surpassed.

Accordingly, to mark the fiftieth anniversary of that first staging, the Gotham Early Music Series (GEMS) has given four performances of Daniel as part of a series of concerts presented through the year by the Cloisters Museum in the intimate acoustic of its Fuentidueña Chapel. No less illustrious a figure than Russell Oberlin, a founder of the modern countertenor tradition and a star of the 1958 production, sat, silver-haired and regal, right in front of me, and prefaced the show with some enthusiastic words about the treat in store for us. Another great countertenor of the recent past, Drew Minter, was the stage director, and hewed to the faux-naïve medieval look, in movement, attitude, costume, image, proper to the piece.

I loved the way the chorus, singing the explanatory introduction as they marched in procession down the aisle, gravely performed simple, book-of-hours-style dances, and the nasal whine of the king’s groveling counselors, and the flashy lions set to devour Daniel who, at a touch from the Angel, began to mew and fawn to be petted instead. I have no idea how the Writing on the Wall was done in 1958, but just projecting it up there did not have the magical effect of a bodyless hand actually writing that I recall from the film. (Alex Ross, in The New Yorker, is also nostalgic for that moment. How many people did that film introduce to Early Music?) The small playing space no doubt forced many compromises on the company – in the film, of course, the entire huge building could be used, and was – I remember King Balthazar fleeing from assassins, who caught and strangled him on the terrace, and the ominous invasion of what seemed a vast Persian army, and there seemed, in my recollection, more room for dance. Today, those who attend the Cloisters’ concert series must content themselves with an hour or two imbibing atmosphere from the museum’s impressive collection of objects and architectural elements, a fine way to wind up to or down after a concert.

Perhaps the greatest departure in this revival from the original was to eliminate the brief explanatory verses by W.H. Auden (no less), recited by a monkish compère figure (Alvin Epstein back then – who is still around, and recently played King Lear downtown), which kept us abreast of the story, scene by scene, in the happy days before surtitles. Minter saw no reason for surtitles – and he was right, although Daniel’s is, in a sense, the first story about surtitles, the Writing on the Wall. But the story is simple and pretty well known (I have seen Minter himself sing the title role in Handel’s oratorio Belshazzar). But I missed the breathing space between numbers that the verses provided, and the slower pace of the singing, and there were attendees around me who studied the libretto rather than watching the clear, simple action in front of them. Like the medieval artists whose handiwork was all around us, the creators of Daniel, both the ancient and the modern ones, did everything they could to make the story and its lessons clear; a child of six would have had no trouble following the action, but some adults evidently did.

All you need, really, is a bunch of singers trained to the demands of medieval a cappella style but able as well (as church singers need not be) to move well and to act. James Ruff made a stiff Daniel, but sang with a fine vibrato-free baritone. Much more fun was had by Peter Walker as doomed King Balthazar (sic, in this version) and, later, a reluctant prophet Abacuc (Habakkuk), dragged in by his ear to foretell a messiah, by José Lemos, a splendid alto countertenor, as the triumphant Darius, by the three whiny counselors and the two prancing lions. It was no surprise to see the names of two dozen well-known early music groups mentioned in the musicians’ biographies. Psaltery, rebec, shawms – the simple orchestration contained the usual suspects, except for the intrusion, during the concluding Te Deum, of modern toned chimes. The processions of singers in and out of the chapel and off into the echoing distance made wise use of the building and added medieval atmosphere to the occasion.

I hope Daniel becomes, once more, a seasonal tradition. It will undoubtedly draw new children of all ages to this marvelous repertory, and, at 53 minutes, it’s a lot shorter than Handel’s Messiah.

John Yohalem

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):