15 Mar 2009
Henze: Der junge Lord
Hey man, you wanna take a trip? Groovy!
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
Francesco Cavalli’s La Calisto was the composer’s ﬁfteenth opera, and the ninth to a libretto by Giovanni Faustini (1615-1651). First performed at the Teatro Sant’Apollinaire in Venice on 28th November 1651, the opera by might have been sub-titled ‘Gods Behaving Badly’, so debauched are the deities’ dalliances and deviations, so egotistical their deceptions.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure, this new production presents the plot as the dying protagonist’s feverish hallucinations. The result is a frosty retelling of what is arguably Puccini’s most hot-blooded opera. Musically, the performance also left much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang bergetar akan terhapus.” (“The transient cannot hold on to stars lost in the Milky Way; that which quivers will be erased.”) As soprano Tony Arnold sang these words of Tony Prabowo’s chamber opera Pastoral, with astonishingly crisp Indonesian diction, the first night of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
New from Oehms Classics, Walter Braunfels Orchestral Songs Vol 1. Luxury singers - Valentina Farcas, Klaus Florian Vogt and Michael Volle, with the Staatskapelle Weimar, conducted by Hansjörg Albrecht.
Manitoba Underground Opera took audiences on a journey — literally and figuratively — as it presented its latest installment of repertory opera between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
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.