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

Hugo Wolf, Italienisches Liederbuch

Nationality is a complicated thing at the best of times. (At the worst of times: well, none of us needs reminding about that.) What, if anything, might it mean for Hugo Wolf’s Italian Songbook? Almost whatever you want it to mean, or not to mean.

San Jose’s Dutchman Treat

At my advanced age, I have now experienced ten different productions of Wagner’s The Flying Dutchman in my opera-going lifetime, but Opera San Jose’s just might be the finest.

Mortal Voices: the Academy of Ancient Music at Milton Court

The relationship between music and money is long-standing, complex and inextricable. In the Baroque era it was symbiotically advantageous.

Glyndebourne Opera Cup 2018: semi-finalists announced

The semi-finalists for the first Glyndebourne Opera Cup have been announced. Following a worldwide search that attracted nearly 200 entries, and preliminary rounds in Berlin, London and Philadelphia, 23 singers aged 21-28 have been chosen to compete in the semi-final at Glyndebourne on 22 March.

ENO announces Studio Live casts and three new Harewood Artists

English National Opera (ENO) has announced the casts for Acis and Galatea and Paul Bunyan, 2018’s two ENO Studio Live productions. ENO Studio Live forms part of ENO Outside which takes ENO’s work to arts-engaged audiences that may not have considered opera before, presenting the immense power of opera in more intimate studio and theatre environments.

Handel in London: 2018 London Handel Festival

The 2018 London Handel Festival explores Handel’s relationship with the city. Running from 17 March to 16 April 2018, the Festival offers four weeks of concerts, talks, walks & film screenings explore masterpieces by Handel, from semi-staged operas to grand oratorio and lunchtime recitals.

Dartington International Summer School & Festival: 70th anniversary programme

Internationally-renowned Dartington Summer School & Festival has released the course programme for its 70th Anniversary Summer School and Festival, curated by the pianist Joanna MacGregor, that will run from 28th July to 25th of August 2018.

I Puritani at Lyric Opera of Chicago

What better evocation of bel canto than an opera which uses the power of song to dispel madness and to reunite the heroine with her banished fiancé? Such is the final premise of Vincenzo Bellini’s I puritani, currently in performance at Lyric Opera of Chicago.

Iolanthe: English National Opera

The current government’s unfathomable handling of the Brexit negotiations might tempt one to conclude that the entire Conservative Party are living in the land of the fairies. In Gilbert & Sullivan’s 1882 operetta Iolanthe, the arcane and Arcadia really do conflate, and Cal McCrystal’s new production for English National Opera relishes this topsy-turvy world where peris consort with peri-wigs.

Il barbiere di Siviglia in Marseille

Any Laurent Pelly production is news, any role undertaken by soprano Stephanie d’Oustrac is news. Here’s the news from Marseille.

Riveting Maria de San Diego

As part of its continuing, adventurous “Detour” series, San Diego Opera mounted a deliciously moody, proudly pulsating, wholly evocative presentation of Astor Piazzolla’s “nuevo tango” opera, Maria de Buenos Aires.

La Walkyrie in Toulouse

The Nicolas Joel 1999 production of Die Walküre seen just now in Toulouse well upholds the Airbus city’s fame as Bayreuth-su-Garonne (the river that passes through this quite beautiful, rich city).

Barrie Kosky's Carmen at Covent Garden

Carmen is dead. Long live Carmen. In a sense, both Bizet’s opera and his gypsy diva have been ‘done to death’, but in this new production at the ROH (first seen at Frankfurt in 2016) Barrie Kosky attempts to find ways to breathe new life into the show and resurrect, quite literally, the eponymous temptress.

Candide at Arizona Opera

On Friday February 2, 2018, Arizona Opera presented Leonard Bernstein’s Candide to honor the 100th anniversary of the composer’s birth. Although all the music was Bernstein’s, the text was written and re-written by numerous authors including Lillian Hellman, Richard Wilbur, Stephen Sondheim, John La Touche, and Dorothy Parker, as well as the composer.

Satyagraha at English National Opera

The second of Philip Glass’s so-called 'profile' operas, Satyagraha is magnificent in ENO’s acclaimed staging, with a largely new cast and conductor bringing something very special to this seminal work.

Mahler Symphony no 8—Harding, Swedish Radio Symphony Orchestra

From the Berwaldhallen, Stockholm, a very interesting Mahler Symphony no 8 with Daniel Harding and the Swedish Radio Symphony Orchestra. The title "Symphony of a Thousand" was dreamed up by promoters trying to sell tickets, creating the myth that quantity matters more than quality. For many listeners, Mahler 8 is still a hard nut to crack, for many reasons, and the myth is part of the problem. Mahler 8 is so original that it defies easy categories.

Wigmore Hall Schubert Birthday—Angelika Kirchschlager

At the Wigmore Hall, Schubert's birthday is always celebrated in style. This year, Angelika Kirchschlager and Julius Drake, much loved Wigmore Hall audience favourites, did the honours, with a recital marking the climax of the two-year-long Complete Schubert Songs Series. The programme began with a birthday song, Namenstaglied, and ended with a farewell, Abschied von der Erde. Along the way, a traverse through some of Schubert's finest moments, highlighting different aspects of his song output : Schubert's life, in miniature.

A Splendid Italian Spoken-Dialogue Opera: De Giosa’s Don Checco

Never heard of Nicola De Giosa (1819-85), a composer who was born in Bari (a town on the Adriatic, near the heel of Italy), but who spent most of his career in Naples? Me, neither!

Winterreise by Mark Padmore

Schubert's Winterreise is almost certainly the most performed Lieder cycle in the repertoire. Thousands of performances and hundreds of recordings ! But Mark Padmore and Kristian Bezuidenhout's recording for Harmonia Mundi is proof of concept that the better the music the more it lends itself to re-discovery and endless revelation.

Ilker Arcayürek at Wigmore Hall

The first thing that struck me in this Wigmore Hall recital was the palpable sincerity of Ilker Arcayürek’s artistry. Sincerity is not everything, of course; what we think of as such may even be carefully constructed artifice, although not, I think, here.

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):