Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

LA Opera Presents Figaro 90210

Figaro 90210 is Vid Guerrerio’s modern version of Wolfgang Amadeus Mozart and Lorenzo DaPonte’s 1786 opera, The Marriage of Figaro.

Tristan und Isolde at the Wiener Staatsoper

David McVicar’s production of Wagner’s seminal music drama runs aground on the Cornish coast.

Songs of Night and Travel, Wigmore Hall

The coming of ‘Night’ brings darkness, shadows and mystery; sleep, dreams and nightmares; fancies, fantasies and passions.

Andrea Chénier, Royal Opera

Umberto’s Giordano’s Andrea Chénier, now at the Royal Opera House, is no more about history than Jesus Christ Superstar is about theology.

Yevgeny Onegin in Warsaw

Mariusz Treliński’s staging of Tchaikovsky’s operatic masterpiece is visually fascinating but psychologically confusing

Orfeo at the Roundhouse, Royal Opera

The regal trumpets and sackbuts sound their bold herald and, followed by admiring eyes, the powers of state and church begin their dignified procession along a sloping walkway to assume their lofty positions upon the central dais.

Idomeneo in Montpellier

Vestiges of a momentous era . . .

L’elisir d’amore in Marseille

There were hints that L’elisir is one of the great bel canto masterpieces.

Das Liebesverbot opens the new season at Teatro Verdi in Trieste

Aron Stiehl’s production of this rare early Wagner opera cheerfully brings commedia dell’arte to La Cage aux Folles.

Amsterdam: Lohengrin Lite

Stage director Pierre Audi is not one to be strictly representational in his story telling.

Fidelio, Manitoba Opera

For the first time in its 42-year history, Manitoba Opera presented Beethoven’s mighty ode to freedom, Fidelio, with an extraordinary production that resonated as loudly as tolling bells of freedom.

The Hilliard Ensemble: Farewell Concert at Wigmore Hall

Forty-one years is a long time for any partnership to be sustained and to flourish — be it musical, commercial or marital! And, given The Hilliard Ensemble’s ongoing reputation as one of the world’s finest a cappella groups, noted for their performances of works dating from the 11 th century to the present day, it must have been a tough decision to call an end to more than four decades of superlative music-making.

Fidelio opens new season at La Scala

Daniel Barenboim makes a triumphant departure as direttore musicale del Teatro alla Scala with Beethoven’s operatic masterpiece.

Mahler Songs: Christian Gerhaher, Wigmore Hall

Star singer and star composer, a combination guaranteed to bring in the fans. Christian Gerhaher sang Mahler at the Wigmore Hall with Gerold Huber. Gerhaher shot to fame when he sang Wolfram at the Royal Opera House Tannhäuser in 2010.

Modernity vanquished? Verdi Un ballo in maschera, Royal Opera House, London

Verdi’s Un ballo in maschera at the Royal Opera House — a masked ball in every sense, where nothing is quite what it seems.

La Traviata in Ljubljana Slovenia

Small country, small opera house — big ensemble spirit. Internationally acclaimed soprano Natalia Ushakova steps in for indisposed local Violetta with mixed results.

Otello in Bucharest — Moor’s the pity

Bulgarian director Vera Nemirova’s production of Otello for the Romanian National Opera in Bucharest was certainly full of new ideas — unfortunately all bad.

Il trovatore at Lyric Opera of Chicago

For its current revival of the 2006-2007 production of Giuseppe Verdi’s Il trovatore by Sir David McVicar Lyric Opera has assembled a talented quintet of principal singers whose strengths match this conception of the opera.

Schubert’s Winterreise by Matthias Goerne

This Winterreise is the final instalment of Matthias Goerne’s series of Schubert lieder for Harmonia Mundi and it brings the Matthias Goerne Schubert Edition, begun in 2008, to a dark, harrowing close.

Mary, Queen of Heaven, Wigmore Hall

O Maria Deo grata — ‘O Mary, pleasing to God’: so begins Robert Fayrfax’s antiphon, one of several supplications to the Virgin Mary presented in this thought-provoking concert by The Cardinall’s Musick at the Wigmore Hall.

OPERA TODAY ARCHIVES »

Reviews

Harrison Birtwistle
18 Jun 2009

Aldeburgh Festival — New Buildings, New Birtwistle Operas

Sir Harrison Birtwistle’s early opera, Punch and Judy, premiered at Aldeburgh in 1968. Benjamin Britten reportedly walked out. Now Birtwistle is himself the pre-eminent British composer, whose work has long since become part of the Aldeburgh tradition. This year’s Festival opened with two Birtwistle premieres, The Corridor and Semper Dowland, simper dolens.

Sir Harrison Birtwistle : The Corridor, Semper Dowland, semper dolens

Mark Padmore (Orpheus), Elizabeth Atherton (Eurydice), Helka Kaski and Thom Rackett (dancers), Peter Gill (director), Ryan Wigglesworth (conductor). London Sinfonietta. 15th June, 2009, Britten Studio, Snape Maltings, Aldeburgh, Suffolk, England.

 

Like Britten himself, Birtwistle is fascinated by early English music. So his new music grows on ancient roots, much like the new buildings at Snape rising from the remains of granaries that occupied the site in Victorian times. The new Britten Studio is a minimalist structure, with open beams in the roof and rough hewn brick walls. Architecture as abstract art. It was a perfect setting for the austerity of Birtwistle’s two new works.

Semper Dowland, simper dolens takes its cue from John Dowland's Seven Teares figured in seven passionate Pavanes. To Birtwistle, the Dowland sequence is "unique in the history of music". The basic unit is a song Lacrimae, which is set in seven versions, with the same chord sequence, each only a slight variation on the former, so the whole flows endlessly like the tears in the text. "It's like making music into a three dimensional object", says Birtwistle, "like seeing something in different facets".

In a musical puzzle piece like this, simplicity is of the essence. Dowland played the lute and sang it himself to small audiences. Mark Padmore sings, accompanied by austere yet limpid harp, a lute writ large with deeper sonorities. At critical moments, low voiced murmurs from bass clarinet, viola and alto flute, then sudden lyrical flights on piccolo.

The Corridor is Birtwistle's latest exploration of the Orpheus myth. Again, it springs from a simple idea, a freeze frame focus on a single, fleeting moment in the saga, when Orpheus, leading Eurydice out of the Underworld, suddenly looks back. In an instant, he loses her and she's swept back into eternity. So Birtwistle makes the split second extend into a half hour meditation on past, present and future. He layers mood on mood, infinitely extending the moment, which once past cannot be retrieved. So don't expect a storyline or development. This is a different concept of time in music.

The text is by David Harsent, whose poetry is poignant because it's direct and seemingly simple. He wrote the libretto for Birtwistle's The Minotaur where the Minotaur's fierce exterior hides his innocent, childlike soul. An even better comparison with The Corridor is The Woman and the Hare, a 15 minute jewel Harsent and Birtwistle wrote some several years ago. Birtwistle has come a long way from Punch and Judy. His more introspective work is delicate and intricately constructed - like his fascination with clockwork and mazes.

Indeed, Harsent's text in The Corridor is particularly elegaic and beautiful, Birtwistle hardly has to "set" it as such, for the phrases and words flow melodically. Elizabeth Atherton's was nicely warm blooded and lusty, making her fate all the more distressing. You could "hear" the vibrant young woman who dies on her wedding day. I wasn't so sure about the film projections and dancing, though I can see why the spartan staging might need elaboration to keep an audience happy. London audiences will get a chance to see a concert performance at the Queen Elizabeth Hall on 6th and 7th July.

But again, the best writing is for the male voice. As the poem goes:
"...there's only one word dark enough, one word as bleak, as cruel....to tear the heart, a word to blacken rain....to bring to ruin all joy or gift or courage...."

Orpheus cannot bring himself to say the word. Padmore sings the name instead, Eurydice, over and over, each time differently, as if reluctant to lose hold of the moment.


Anne Ozorio

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):