12 May 2009
Lady Macbeth of Mtsensk — Opera Australia
For two years following its premiere Shostakovich’s Lady Macbeth of Mtsesnk was one of the most often performed contemporary operas.
Following highly successful UK premières of Salieri’s Falstaff (in 2003) and Trofonio’s Cave (2015), this summer Bampton Classical Opera will present the first UK performances since the late 18th century of arguably his most popular success: the bitter comedy of marital feuding, The School of Jealousy (La scuola de’ gelosi). The production will be designed and directed by Jeremy Gray and conducted by Anthony Kraus from Opera North. The English translation will be by Gilly French and Jeremy Gray. The cast includes Nathalie Chalkley (soprano), Thomas Herford (tenor) and five singers making their Bampton débuts:, Rhiannon Llewellyn (soprano), Kate Howden (mezzo-soprano), Alessandro Fisher (tenor), Matthew Sprange (baritone) and Samuel Pantcheff (baritone). Alessandro was the joint winner of the Kathleen Ferrier Competition 2016.
Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of Leoš Janàček’s 1921 domestic tragedy, and not entirely in a good way.
Applications are now open for the Bampton Classical Opera Young Singers’ Competition 2017. This biennial competition was first launched in 2013 to celebrate the company’s 20th birthday, and is aimed at identifying the finest emerging young opera singers currently working in the UK.
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
Handel’s Partenope (1730), written for his first season at the King’s Theatre, is a paradox: an anti-heroic opera seria. It recounts a fictional historic episode with a healthy dose of buffa humour as heroism is held up to ridicule. Musicologist Edward Dent suggested that there was something Shakespearean about Partenope - and with its complex (nonsensical?) inter-relationships, cross-dressing disguises and concluding double-wedding it certainly has a touch of Twelfth Night about it. But, while the ‘plot’ may seem inconsequential or superficial, Handel’s music, as ever, probes the profundities of human nature.
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
A skewering of the preening pretentiousness of the Pre-Raphaelites and Aesthetes of the late-nineteenth century, Gilbert and Sullivan’s 1881 operetta Patience outlives the fashion that fashioned it, and makes mincemeat of mincing dandies and divas, of whatever period, who value style over substance, art over life.
Irish mezzo-soprano Tara Erraught demonstrated a relaxed, easy manner and obvious enjoyment of both the music itself and its communication to the audience during this varied Rosenblatt Series concert at the Wigmore Hall. Erraught and her musical partners for the evening - clarinettist Ulrich Pluta and pianist James Baillieu - were equally adept at capturing both the fresh lyricism of the exchanges between voice and clarinet in the concert arias of the first half of the programme and clinching precise dramatic moods and moments in the operatic arias that followed the interval.
This Sunday the Metropolitan Opera will feature as part of the BBC Radio 3 documentary, Opera Across the Waves, in which critic and academic Flora Willson explores how opera is engaging new audiences. The 45-minute programme explores the roots of global opera broadcasting and how in particular, New York’s Metropolitan Opera became one of the most iconic and powerful producers of opera.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
The first production of Ryan Wigglesworth’s first opera, based upon Shakespeare’s The Winter’s Tale, is clearly a major event in English National Opera’s somewhat trimmed-down season. Wigglesworth, who serves also as conductor and librettist, professes to have been obsessed with the play for more than twenty years, and one can see why The Winter’s Tale, with its theatrical ‘set-pieces’ - the oracle scene, the tempest, the miracle of a moving statue - and its grandiose emotions, dominated as the play is by Leontes’ obsessively articulated, over-intellectualized jealousy, would invite operatic adaptation.
Today, Wexford Festival Opera announced the programme and principal casting details for the forthcoming 2017 festival. Now in its 66th year, this internationally renowned festival will run over an extended 18-day period, from Thursday, 19 October to Sunday, 5 November.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
For two years following its premiere Shostakovich’s Lady Macbeth of Mtsesnk was one of the most often performed contemporary operas.
With simultaneous premieres in Leningrad and Moscow followed, at one point, by simultaneous productions in three Moscow theatres alone foreign productions followed. After the American premiere the sensational opera became topical enough to be mentioned in the Rodgers and Hart musical On Your Toes and in London, where it was performed in concert in 1936 followed by BBC broadcast, the young Benjamin Britten heard it and was impressed by its powerful interludes (and also by one of the singers, Peter Pears, who had a minor role). The came Stalin’s visit to a performance in Moscow and the subsequent attacks in Pravda on the opera, the ballet The Limpid Stream and the composer himself. The opera was withdrawn immediately. There was difficulty obtaining the music for that London concert in 1936 and after then it disappeared from every stage until 1959 when the Dusseldorf Opera managed to wrangle the orchestral music from the Soviet authorities. By then Shostakovich was testing the waters: Stalin had died and Kruschev had made public the extent of Stalin’s terror: by issuing a revised version of the opera. Only slowly, and not until after Shostakovich’s death, did the original version regain its fame.
For Opera Australia’s production, director Francesca Zambello updates the story to the Soviet era where overbearing male sexuality is just another form of oppression. The bored and sexually unfulfilled Katerina (Susan Bullock) is married to an impotent weakling Zinovy (David Corcoran) while all around her there is an environment of rampaging male sexuality. Even her lecherous father-in-law Boris (Daniel Sumegi) constantly prowls around her bedroom fantasising about doing Zinovy’s matrimonial duty for him.
After seventy years Shostakovich’s music is still exuberant and irreverent but with astonishing power in places, like those cathartic interludes that so impressed Britten. The first two acts, leading up Katerina and her lover Sergei (Richard Berkeley-Steele) murdering her husband seethe with threatening or raucous music that explode in the scenes of sex or violence that are still very confronting. In the opening scene trombones blurt slyly as Boris insinuates that she is looking for a lover and again in a later scene when he predicts her infidelity. Finally, alone in her room with Sergei the notorious on-stage sex scene, those trombones now grunt wildly along with every thrust in music that reaches a literal climax and aftermath that has to be heard to be believed! Zambello has their lovemaking as frenzied and confronting as the frenzied music and in the other notorious scene where the cook Aksinya (Jacqueline Dark) is attacked by the workmen is turned into a near mass rape, the near naked workmen groping her and themselves in a scene that begins during the linking interlude where the sleazy music accompanies Sergei signalling the workmen to gather in the wash house and making it obvious the attack is well planned and that Sergei is the ringleader. The coarseness of the male sexuality as played here sets Katerina’s ecstatic sexual awakening in sharp relief. Even though it is very confrontingly depicted it looks positively virtuous in comparison with the Boris and his worker’s lechery.Susan Bullock as Katerina Ismailova [Photo by Jeff Busby]
Bullock is astounding in this most difficult role. A notable Elektra, her voice rides the huge orchestra in the dramatic scenes with a cut and edge that remains clean and steady at all times. Her recent success in the Chandos recording of Salome, where she scales down her tone to an insinuating whisper is no studio trick either. In the opening scene and later, in the plaintive about animals mating happily but not her, she can spin her voice into a mournful whisper. In the same way she projects the aria in the last act about the black lake out into the auditorium while draining her voice of colour to suggest Katerina numb from both cold and Sergei’s rejection. She acts the highly charged scenes with the same conviction she invests in every other scene right down to weary resignation with which she drowns herself and Sergei’s new mistress. I suspect now that the lulling, romantic and otherwise polite repertoire she chose for her recital was to show her vocal nice side.
Berkeley-Steele copes magnificently the short, jabbing vocal lines Shostakovich gives Sergei, as though he were — appropriately: a cock crowing. Sumegi, looking like Stalin and groping himself as often as his vodka bottle is an unashamedly disgusting Boris. All thee have excellent diction and project the text well.
Sung in English the translation is by the opera producer David Pountney for his English National Opera production which is coy in places other translations are not and forthright in places others are tamer. Katerina’s aria about animals mating, for instance, uses more sexualised language than the translations accompanying either of the two commercial CD recordings of the opera.
The smaller but necessary roles have been cast from strength. Shostakovich drives his buffo tenors hard it seems; the tenor singing the Police Captain in his earlier opera The Nose is required to sing in alt and reach an E above top C. As the shabby peasant Kanen Breen is taxed by the orchestral tsunami Shostakovich sets against the scene in which he discovers Zinovy’s body. As a result he is barely audible against the wild mazurka played forte by the full orchestra and resorts to a frenzied semaphore for the scene.
Deputising for the late Richard Hickox, who was to conduct the Sydney and Melbourne seasons this year, Richard Armstrong had apparently not conducted the work before. With the same authority he brings to Richard Strauss, he scored point after point of the music’s Janus nature, colouring the lyrical passages for Katerina, the quirky but sinister little violin passage as Boris eats the fatal mushrooms and, most importantly, exploding the interludes with shattering force. The orchestra responded superbly to the full barrage of the young and uncensored Shostakovich.
Zambello’s update appears to be roughly the same time that the opera was written. Like Patrice Chereau, who set a trend (most famously in his 1976 Ring cycle at Bayreuth) for setting an opera in the time it was written rather the time it is set, this simple action often contextualises a work in rewarding ways, even without imposing many social or political references from the time. As the Marxist overtones pervaded Chereau’s interpretation of Wagner, the ruthlessness of the purges and oppressions that were beginning in the Soviet Union underpin the story, giving some idea of what was really disturbing to Stalin and his committee. The sudden sighting of a portable television, however, spoiled the otherwise compelling concept. The poverty of regional Russia under Soviet collectivisation was superbly conveyed and gives the Ismailova’s a level of desperation not in Leskov’s original story of comfortable bourgeoisie. Here the sordid environment is both physical and metaphorical.