15 Mar 2009
Henze: Der junge Lord
Hey man, you wanna take a trip? Groovy!
‘Mack does bad things.’ The tabloid headline that convinces Rory Kinnear’s surly, sharp-suited Macheath that it might be time to take a short holiday epitomizes the cold, understated menace of Rufus Norris’s production of Simon Stephens’ new adaptation of The Threepenny Opera at the Olivier Theatre.
On May 25, 2016, Los Angeles Opera presented a revival of the Herbert Ross production of Giacomo Puccini’s opera, La bohème. Stage director, Peter Kazaras, made use of the Dorothy Chandler Pavilion’s wide stage by setting some scenes usually seen inside the garret on the surrounding roof instead.
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It’s not easy for critics to hit the right note when they write about musical collaborations between students and professionals. We have to allow for inevitable lack of polish and inexperience while maintaining an overall high standard of judgment.
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Director Annabel Arden believes that Rossini’s Il barbiere di Siviglia is ‘all about playfulness, theatricality, light and movement’. It’s certainly ‘about’ those things and they are, as Arden suggests, ‘based in the music’.
George Enescu’s Oedipe was premiered in Paris 1936 but it has taken 80 years for the opera to reach the stage of Covent Garden. This production by Àlex Ollé (a member of the Catalan theatrical group, La Fura Dels Baus) and Valentina Carrasco, which arrives in London via La Monnaie where it was presented in 2011, was eagerly awaited and did not disappoint.
Lyric Opera of Chicago staged Charles Gounod’s Roméo et Juliette as the last opera in its current subscription season.
‘The plot is perhaps the least moral in all opera; wrong triumphs in the name of love and we are not expected to mind.’
Anthony Minghella’s production of Madame Butterfly for ENO is wearing well. First seen in 2005, it is now being aired for the sixth time and is still, as I observed in 2013, ‘a breath-taking visual banquet’.
This concert version of La straniera felt like a compulsory musicology field trip, but it had enough vocal flashes to lobby for more frequent performances of this midway Bellini.
As poetry is the harmony of words, so music is that of notes; and as poetry is a rise above prose and oratory, so is music the exaltation of poetry.
From experiments with musique concrète in the 1940s, to the Minimalists’ explorations into tape-loop effects in the 1960s, via the appearance of hip-hop in the 1970s and its subsequent influence on electronic dance music in the 1980s, to digital production methods today, ‘sampling’ techniques have been employed by musicians working in genres as diverse as jazz fusion, psychedelic rock and classical music.
On May 7, 2016, San Diego Opera presented the West Coast premiere of Great Scott, an opera by Terrence McNally and Jake Heggie. McNally’s original libretto pokes fun at everything from football to bel canto period opera. It includes snippets of nineteenth century tunes as well as Heggie's own bel canto writing.
A foiled abduction, a castle-threatening inferno, romantic infatuation, guilt-laden near-suicide, gun-shots and knife-blows: Andrea Leone Tottola’s libretto for Vincenzo Bellini’s first opera, Adelson e Salvini, certainly does not lack dramatic incident.
Opera as an art form has never shied away from the grittier shadows of life. Nor has Manitoba Opera, with its recent past productions dealing with torture, incest, murder and desperate political prisoners still so tragically relevant today.
Published in 1855 as an entertainment for his two daughters, William Makepeace Thackeray’s The Rose and the Ring is a burlesque fairy-tale whose plot — to the author’s wilful delight, perhaps — defies summation and elucidation.
What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.
Hey man, you wanna take a trip? Groovy!
Like a hallucinogenic sugar cube, this Medici Arts DVD of Hans Werner Henze’s Der junge Lord, with libretto by Ingeborg Bachmann, will take viewers on a wild ride and really put it to the system. The opera premiered in 1965; this filmed version dates from 1968. Although the story takes place in a bourgeois German town in the 19th century, the cast might as well be in bell bottoms and paisley. Henze and Bachmann take over two hours to tell the story of the mysterious Sir Edgar, who excites a status-crazed German town when he visits. A party designed to present Sir Edgar’s son, the young lord of the title, sets the stage for the supposedly shocking climax. After the hypocritical elites of the town have excused the strange behavior of the young lord, they recoil in shock as the finely dressed young man goes, pardon the expression, ape-excrement crazy, at which point Sir Edgar steps in to reveal that this “son” is actually an ape who has been taught how to “ape” the manners of society. Wow! Crazy, man, far out.
Der junge Lord plays, then, like an over-extended Twilight Zone episode in one of Serling’s rare and not notably funny forays into humor. That isn’t necessarily dismissive criticism, however, and though this DVD can’t elicit a general recommendation from your reviewer, its merits shouldn’t be dismissed either.
Of primary value is Henze’s score, which skips and frolics with macabre glee, not unlike the ape-lord himself at the ball in his honor. Although far from sweet and lyrical, Henze’s music adopts tonality almost to mock the conservative, conventional society of the story. Through sharp, disruptive rhythms and kaleidoscopic orchestration, Henze manages to give the impression of edgier music than he has actually composed. No tunes may lodge in listeners’ memories, but Henze’s energetic imagination holds the attention. With Christoph von Dohnanyi’s expert leadership, the Deutsche Oper Berlin forces play like crazed apes themselves.
Gustav Rudolf Sellner staged and directed the production, and it manages the rare feat of retaining a theatrical perspective while making good use of the camera. The actors/singers perform to a recorded soundtrack, following Sellner’s precise direction, almost choreographic in its flow and ease. Bachmann’s libretto, basically didactic, doesn’t really care to properly characterize any of the roles, but the performers try their best. Somehow both at the center of the story and extraneous to it are a young couple in love, sung by Edith Mathis and Donald Grobe. Mathis in particular manages some very difficult music while maintaining beauty of tone. Sir Edgar is a silent role, with Barry McDaniel as his secretary serving as a properly unctuous spokesperson. In the title role, Loren Driscoll also must cope with some challenging vocal lines, especially in the off-camera scene where the lord/ape is being tortured during his German lesson. Driscoll’s contorted posture and manic dancing do make the final scene almost worth the long wait to reach it.
Almost. In the end, Der junge Lord probably qualifies more as a fascinating artifact of its time than a successful opera. Those who still tune into the occasional Twilight Zone marathon and wonder how many of the shows could have been the basis for an opera should check this curiosity out.