Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Modernity vanquished? Verdi Un ballo in maschera, Royal Opera House, London

Verdi Un ballo in maschera at the Royal Opera House - a masked ball in every sense, where nothing is quite what it seems. On the surface, this new production appears quaint and undemanding. It uses painted flats, for example, pulled back and forth across, as in toy theatre. The scenes painted on them are vaguely generic, depicting neither Boston nor Stockholm, where the tale supposedly takes place. Instead, we focus on Verdi, and on theatre practices of the past. In other words, opera as the art of illusion, not an attempt to replicate reality. Take this production too literally and you'll miss the wit and intelligence behind it.

La Traviata in Ljubljana Slovenia

Small country, small opera house — big ensemble spirit. Internationally acclaimed soprano Natalia Ushakova steps in for indisposed local Violetta with mixed results.

Otello in Bucharest — Moor’s the pity

Bulgarian director Vera Nemirova’s production of Otello for the Romanian National Opera in Bucharest was certainly full of new ideas — unfortunately all bad.

Il trovatore at Lyric Opera of Chicago

For its current revival of the 2006-2007 production of Giuseppe Verdi’s Il trovatore by Sir David McVicar Lyric Opera has assembled a talented quintet of principal singers whose strengths match this conception of the opera.

Schubert’s Winterreise by Matthias Goerne

This Winterreise is the final instalment of Matthias Goerne’s series of Schubert lieder for Harmonia Mundi and it brings the Matthias Goerne Schubert Edition, begun in 2008, to a dark, harrowing close.

Mary, Queen of Heaven, Wigmore Hall

O Maria Deo grata — ‘O Mary, pleasing to God’: so begins Robert Fayrfax’s antiphon, one of several supplications to the Virgin Mary presented in this thought-provoking concert by The Cardinall’s Musick at the Wigmore Hall.

Analyzed not demonized — Tristan und Isolde, Royal Opera House

Wagner’s Tristan und Isolde at the Royal Opera House, first revival of the 2009 production, one of the first to attract widespread hostility even before the curtain rose on the first night.

Florencia in el Amazonas Makes Triumphant Return to LA

On November 22, 2014, Los Angeles Opera staged Francesca Zambello’s updated version of Florencia in el Amazonas.

John Adams: The Gospel According to the Other Mary

John Adams and his long-standing collaborator Peter Sellars have described The Gospel According to the Other Mary as a ‘Passion oratorio’.

A new Yevgeny Onegin in Zagreb — Prince Gremin’s Fabulous Pool Party

Superb conducting from veteran Croatian maestro Nikša Bareza makes up for an absurd waterlogged new production of Tchaikovsky’s masterpiece.

Nabucco in Novi Sad

After the horrors of Jagoš Marković’s production of Le Nozze di Figaro in Belgrade, I was apprehensive lest Nabucco in Serbia’s second city of Novi Sad on 27th October would be transplanted from 6th century BC Babylon to post-Saddam Hussein Tikrit or some bombed-out kibbutz in Beersheba.

La Bohème in San Francisco

First Toronto, then Houston and now San Francisco, the third stop of a new production of Puccini's La bohème by Canadian born, British nurtured theater director John Caird.

Radvanovsky Sings Recital in Los Angeles

Every once in a while Los Angeles Opera presents an important recital in the three thousand seat Dorothy Chandler Pavilion.

L’elisir d’amore, Royal Opera

This third revival of Laurent Pelly’s production of Donizetti’s L’elisir d’amore needed a bit of a pep up to get moving but once it had been given a shot of ‘medicinal’ tincture things spiced up nicely.

Samling Showcase, Wigmore Hall

Founded in 1996, Samling describes itself as a charity which ‘inspires musical excellence in young people’.

La cenerentola in San Francisco

The good news is that you don’t have to go all the way to Pesaro for great Rossini.

Rameau: Maître à danser — William Christie, Barbican London

Maître à danser: William Christie and Les Arts Florissants at the Barbican, London, presented a defining moment in Rameau performance practice, choreographed with a team of dancers.

Le Nozze di Figaro — or Sex on the Beach?

The most memorable thing (and definitely not in a good way) about this performance of Le Nozze di Figaro at the Serbian National Theatre in Belgrade was the self-serving, infantile, offensive and just plain wrong production by celebrated Serbian theatre director Jagoš Marković.

The Met mounts a well sung but dramatically unconvincing ‘Carmen’

Should looks matter when casting the role of the iconic temptress for HD simulcast?

Maurice Greene’s Jephtha

Maurice Greene (1696-1755) had a highly successful musical career. Organist of St. Paul’s Cathedral, a position to which he was elected when he was just 22 years-old, he later became organist of the Chapel Royal, Professor of Music at the University of Cambridge and, from 1735, Master of the King’s Music.

OPERA TODAY ARCHIVES »

Reviews

Katherine Rohrer as Lady Macbeth [Photo by Dan Swerdlow]
30 Mar 2009

Bloch’s Macbeth by UC Opera, London

Mention Macbeth — The Opera and most think of Verdi. Ernest Bloch took on the subject more than half a century later, in Paris in 1910, when Verdi’s version was almost as obscure as Bloch’s is today.

Ernest Bloch: Macbeth

Macbeth: George von Bergen; Lady Macbeth: Katherine Rohrer; Duncan: Ryland Davies; Banquo: Richard Rowe; Macduff: Carl Gombrich; Lady Macduff: Louise Kemeny; Son of Macduff: Laura Murphy; 1st Witch: Mimi Kroll; 2nd Witch: Jessica Blackstone; 3rd Witch: Ella Jackson; Lennox: Woon Kim; Porter: Ed Davison; Murderer: Rory Mulchrone; Servant: Simon Hall; Apparition: Alicia Bennett. University College Opera. Directed by: John Ramster, Conducted by: Charles Peebles.

Above: Katherine Rohrer as Lady Macbeth

All photos by Dan Swerdlow

 

Originally the opera was composed to a French libretto by Edmond Fleg, but Bloch revisited the piece forty years later and adapted it to an English libretto, much of it Shakespeare’s own text. The French version of Bloch’s opera had its UK concert premiere in 1975 at the Royal Festival Hall, but it has never been performed here in the English version, nor in a fully staged production. Not, that is, until UC Opera — that champion of neglected masterpieces and justly forgotten flops alike — took it upon themselves to rectify the omission from the repertoire.

Macbeth.gifGeorge von Bergen as Macbeth

This is an opera which concentrates on private moments, monologues and dialogues; the sleepwalking scene is a private nightmare, without the usual pair of onlookers. Far more of the play’s soliloquys survive than in the libretto Piave wrote for Verdi; even the Drunken Porter makes an appearance, with the opera’s one straightforward strophic song; a contrast in word-setting which reflects Shakespeare’s own switch from blank verse to prose.

The score is primarily reminiscent of Debussy in its often rather nebulous drift through the text, but has shades of Salome and Götterdämmerung as well. The student orchestra (UCL has no music department) was problematic: in a woodwind-dominated score, the wind and brass playing was at best weak and at worst excruciating. In his one-monologue cameo as Duncan, the distinguished veteran tenor Ryland Davies sang with a expertly-crafted lyrical arch to his phrasing which showed up the accompanying instrumentalists as being flat as a pancake beneath. The string playing was better, the basses making a particularly strong atmospheric impression with the darkly throbbing pizzicato in the scene immediately after Duncan’s murder. Charles Peebles, conducting, shaped the orchestration and choral singing as best he could; the final rhythmically-driven chorus in which all are united against Macbeth comes as a refreshing climax.

Bloch changes the order of the later scenes (Shakespeare’s Acts 4 and 5) giving an alternative slant to the plot: it’s not until after the (apparently motiveless) slaughter of Macduff’s family that Macbeth seeks the witches a second time, and they reveal to him only the parade of kings and the Birnam Wood prophecy. The other two prophecies are cut, so Macbeth’s only reason to fear Macduff is that he will be seeking to avenge his wife and children. It takes the tautness out of the structure: this is a play in which bad things definitely come in threes.

Scene_Act3.gifScene from Act 3

And indeed, director John Ramster makes good use of the Witches (student soloists Mimi Kroll, Jessica Blackstone and Ella Jackson). They hover over the battle-slain like malign Valkyries, and travel as tree-spirits with the avenging army to see the final part of their prophecy played out. It’s a very strong staging all round, with space and lighting always used effectively; Bridget Kimak’s set is presided over by a blood-red moon, which moves into a total eclipse at the denouement — a strong visual evocation of the coming together of all the fateful prophecies which have governed Macbeth’s bloody reign.

The (hired) major principals were also strong — considerably stronger, in fact, than most of UC Opera’s casting in recent years. George von Bergen was especially good in the title role, dominating his every scene with a strong stage presence and full, finely-nuanced baritone. The young American mezzo Katherine Rohrer (Glyndebourne on Tour’s recent Carmen) has a lightish, agile voice with an excellent top; her Lady Macbeth was elegant and fiery, the progress of her self-destruction visible in her face. Richard Rowe sang Banquo in an even, well-produced tenor (his murder takes place offstage). The bass-baritone Carl Gombrich (National Opera Studio trained, now on the administrative staff at UCL) was a soft-grained Macduff, needing a little more heft and edge when urging the household to awake and hear the news of Duncan’s murder. Of the student soloists, tenor Hal Brindley’s Malcolm was the stand-out performance.

Ruth Elleson © 2009

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):