15 Mar 2009
Henze: Der junge Lord
Hey man, you wanna take a trip? Groovy!
With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no less than seven concerts in this season’s NTR ZaterdagMatinee series feature works by Adams, including this concert version of his first opera, Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the Royal Concertgebouw, Daniele Gatti, came together for their first engagement in a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and Wiener Philharmoniker, to hear these three top orchestra perform their series programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.
One of Aidan Lang’s first initiatives as artistic director of Seattle Opera was to encourage his board to formulate a “mission statement” for the fifty-year old company. The document produced was clear, simple, and anodyne. Seattle Opera would aim above all to create work appealing both to the emotions and reason of the audience.
Contrary to Stolzi’s multidimensional Parsifal, Holten’s simple setting of Lohengrin felt timeless with its focus on the drama between characters. Premiering in 2012, nothing too flashy and with a clever twist,
Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner productions. This Fall, its productions of Philipp Stölzl's Parsifal and Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it comes down to last minute replacements, the casting is topnotch.
Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.
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.