15 Mar 2009
Henze: Der junge Lord
Hey man, you wanna take a trip? Groovy!
For its annual visit to the BBC Proms at the Royal Albert Hall, Glyndebourne brought its new production of Rossini's Il barbiere di Siviglia, an opera which premiered 200 years ago.
‘A caprice written with the point of a needle’: so Berlioz described his opera Béatrice and Bénédict, which pares down Shakespeare’s Much Ado About Nothing to its comic quintessence, shorn of the sub-plots, destroyed reputations and near-bloodshed of Shakespeare’s original.
‘This is the way the world ends. Not with a bang but a whimper.’ It is, perhaps, a line quoted too often; yet, even though it may not have been entirely accurate on this occasion, it came to my mind. Its accuracy might be questioned in several respects.
Central City Opera celebrated the 60th anniversary of The Ballad of Baby Doe with a hip, canny, multi-faceted new production.
Someone forgot to tell Central City Opera that it would be difficult to fit Puccini’s (usually) architecturally large Tosca on their small stage.
A cast worthy of Bayreuth made for an unforgettable Wagnerian experience at the Sommer Festspiele in Baden-Baden.
Loving attention to the highest quality was everywhere evident in Des Moines Metro Opera’s Manon.
Des Moines Metro Opera had (almost) all the laughs in the right places, and certainly had all the right singers in these meaty roles to make for an enjoyable outing with Verdi’s masterpiece
With the thermometers reaching boiling point, there’s no doubt that summer has finally arrived in London. But, the sun seems to have been shining over the large marquee in Holland Park all summer.
J.S. Bach’s cerebral Art of the Fugue in Aix, Verdi’s massive Requiem in Orange, Ibn al-Muqaffa’ ‘s fable of the camel, jackal, wolf and crow, Sophocles’ blind Oedipus Rex and the Bible’s triumphant Psalm No. 150 in Aix.
The champagne corks popped at the close of this year’s Jette Parker Young Artists Summer Performance at the Royal Opera House, with Prince Orlofsky’s celebratory toast forming a fitting conclusion to some superb singing.
Bryn Terfel is making a habit of performing Russian patriarchs at the Proms.
What happens when just everything about an operatic performance goes joyously right?
Two years ago, the well-established Des Moines Metro Opera experimented with a 2nd Stages program, with performances programmed outside of their home stage at Simpson College.
What to make of the unannounced decision to open this concert with the Marseillaise? I am sure it was well intended, and perhaps should leave it at that.
In a fairy-tale, it can sometimes feel as if one is living a dream but on the verge of being awoken to a shock. Such is life in these dark and uncertain days.
The tense, three hour knock-down-drag-out seduction of Beauty by Pleasure consumed our souls in this triumphal evening. Forget Time and Disillusion as destructors, they were the very constructors of the beauty and pleasure found in this miniature oratorio.
Three parallel universes (before losing count) — the ephemeral Debussy/Maeterlinck masterpiece, the Debussy symphonic tone poem, and the twisted intricacies of a moldy, parochially English country estate.
This, alas, was where I had to sign off. A weekend conference on Parsifal (including, on the Saturday, a showing of Hans-Jürgen Syberberg’s Parsifal film) mean that I missed Götterdämmerung, skipping straight to the sequel.
The culmination of Opera North’s “Ring for Everyone”, this Götterdämmerung showed the power of the condensed movement so necessary in a staged performance - each gesture of each character was perfectly judged - as well as the visceral power of having Wagner’s huge orchestra on stage as opposed to the pit.
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.