Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Budapest Festival Orchestra: a scintillating Bluebeard

Ravi Shankar’s posthumous opera Sukanya drew a full house to the Royal Festival Hall last Friday but the arrival of the Budapest Festival Orchestra under their founder Iván Fischer seemed to have less appeal to Londoners - which was disappointing as the absolute commitment of Fischer and his musicians to the Hungarian programme that they presented was equalled in intensity by the blazing richness of the BFO’s playing.

Elizabeth Llewellyn: Investec Opera Holland Park stages Puccini's La Rondine

It’s six or so years ago since soprano Elizabeth Llewellyn appeared as an exciting and highly acclaimed new voice on the UK operatic stage, with critics praising her ‘ravishing account’ (The Stage) of Mozart’s Countess in Investec Opera Holland Park’s 2011 Le nozze di Figaro in which ‘Porgi, amor’ was a ‘highlight of the evening’.

Sukanya: Ravi Shankar's posthumous opera

What links Franz Xaver Süssmayr, Brian Newbould and Anthony Payne? A hypothetical question for University Challenge contestants elicits the response that they all ‘completed’ composer’s last words: Mozart’s Requiem, Schubert’s Symphony No.8 in B minor (the Unfinished) and Edward Elgar’s Third Symphony, respectively.

Cavalli's Hipermestra at Glyndebourne

‘Make war not love’, might be a fitting subtitle for Francesco Cavalli’s opera Hipermestra in which the eponymous princess chooses matrimonial loyalty over filial duty and so triggers a war which brings about the destruction of Argos and the deaths of its inhabitants.

Dougie Boyd, Artistic Director of Garsington Opera: in conversation

One year ago, tens of millions of Britons voted for isolation rather than for cooperation, but Douglas (Dougie) Boyd, Artistic Director of Garsington Opera, is an energetic one-man counterforce with a dynamic conviction that art and culture are strengthened by participation and collaboration; values which, alongside excellence and a spirit of adventure, have seen Garsington Opera acquire increasing renown and esteem on the international stage during his tenure, since 2012.

I Fagiolini's Orfeo: London Festival of Baroque Music

This year’s London Festival of Baroque Music is titled Baroque at the Edge and celebrates Monteverdi’s 450th birthday and the 250th anniversary of Telemann’s death. Monteverdi and Telemann do in some ways represent the ‘edges’ of the Baroque, their music signalling a transition from Renaissance to Baroque and from Baroque to Classical respectively, though as this performance of Monteverdi’s Orfeo by I Fagiolini and The English Cornett & Sackbutt Ensemble confirmed such boundaries are blurred and frequently broken.

The English Concert: a marvellous Ariodante at the Barbican Hall

I’ve been thinking about jealousy a lot of late, as I put the finishing touches to a programme article for Bampton Classical Opera’s summer production of Salieri’s La scuola de' gelosi. In placing the green-eyed monster centre-stage, Handel’s Ariodante surely rivals Shakespeare’s Othello in dramatic clarity and concision, as this terrifically animated and musically intense performance by The English Concert at the Barbican Hall confirmed.

Riel Deal in Toronto

With its new production of Harry Somers’ Louis Riel, Canadian Opera Company has covered itself in resplendent glory.

Concert Introduces Fine Dramatic Tenor

On May 4, 2017, Los Angeles Opera presented a concert starring Russian soprano Anna Netrebko and her husband, Azerbaijani tenor Yusif Eyvazev. Led by Italian conductor Jader Bignamini, members of the orchestra showed their abilities, too, with a variety of instrumental selections played between the singers’ arias and duets.

COC: Tosca’s Cautious Leap

Considering the high caliber of the amassed talent, Canadian Opera Company’s Tosca is a curiously muted affair.

Matthias Goerne - late Schumann songs, revealed

Matthias Goerne Schumann Lieder, with Markus Hinterhäuser, a new recording from Harmonia Mundi. Singers, especially baritones, often come into their prime as they approach 50, and Goerne, who has been a star since his 20's is now formidably impressive. The colours in his voice have matured, with even greater richness and depth than before.

Schubert's 'swan-song': Ian Bostridge at the Wigmore Hall

No song in this wonderful performance by Ian Bostridge and Lars Vogt at the Wigmore Hall epitomised more powerfully, and astonishingly, what a remarkable lieder singer Bostridge is, than Schubert’s Rellstab setting, ‘In der Ferne’ (In the distance).

Baritone Josep-Ramon Olivé wins the 2017 Guildhall School Gold Medal

The Guildhall School of Music and Drama has announced baritone Josep-Ramon Olivé as the winner of this year’s Gold Medal, the School’s most prestigious prize for outstanding soloists. The prize is awarded to singers and instrumentalists in alternate years and this year was the turn of the singers.

Stunning power and presence from Lise Davidsen

For Norwegian soprano Lise Davidsen this has been an exciting season, one which has seen her make several role and house debuts in Europe and beyond, including Agathe (Der Freischutz) at Opernhaus Zürich, Santuzza (Cavalleria Rusticana) Norwegian National Opera and, just last month, Isabella (Liebesverbot) at Teatro Colón. This Rosenblatt Recital brought her to the Wigmore Hall for her UK recital debut and if the stunning power, shining colour and absolute ease that she demonstrated in a well-chosen programme of song and opera are anything to judge by, Glyndebourne audiences are in for a tremendous treat this summer, when Davidsen appears in the title role of Richard Strauss’s Ariadne auf Naxos.

LALO and COQUARD: La Jacquerie

La Jacquerie—here recorded for the first time—proves to be a wonderful opera, bringing delight upon delight.

Three Rossini Operas Serias

Rossini’s serious operas once dominated opera houses across the Western world. In their librettos, the great French author Stendahl—then a diplomat in Italy and the composer’s first biographer—saw a post-Napoleonic “martial vigor” that could spark a liberal revolution. In their vocal and instrumental innovations, he discerned a similar revolution in music.

Urania Remasters Marriage of Figaro

Good news for lovers of Mozart’s Marriage of Figaro: the famous Living Stereo recording, a co-production of RCA Victor and English Decca, is now available again, well remastered, on Urania.

Tosca: Stark Drama at the Chandler Pavilion

On Thursday evening April 27, 2017, Los Angeles Opera presented a revival of Giacomo Puccini’s Tosca at the Dorothy Chandler Pavilion. In 2013, director John Caird had given Angelinos a production that made Tosca a full-blooded, intense drama as well as a most popular aria-studded opera. His Floria was a dove among hawks.

Glyndebourne Festival 2018 programme announced

The UK’s first professional production of Samuel Barber’s Pulitzer prize-winning opera Vanessa takes place at Glyndebourne Festival 2018. One of the great American operas, Vanessa was hailed as a triumph at its premiere in 1958 but quickly fell out of the repertoire and has only been staged intermittently since.

Major new international singing competition launched by Glyndebourne

The Glyndebourne Opera Cup - the international competition for opera singers is designed to discover and spotlight the best young singers from around the world, offering a top prize of £15,000 and a platform for launching an international opera career.

OPERA TODAY ARCHIVES »

Reviews

J. S. Bach by Elias Gottlob Haussmann (1748)
20 Jun 2009

Bach's St. Matthew Passion at BAM

To the sorrow of all lovers of baroque opera, J.S. Bach never composed for the stage.

J.S. Bach: St. Matthew Passion

Evangelist: Rufus Müller; Jesus: Curtis Streetman; with Suzie LeBlanc, Phyllis Pancella, Daniel Taylor, Nils Brown, Stephen Varcoe. Conducted by Paul Goodwin. Staged by Jonathan Miller. BAM Harvey Theater, performance of April 24.

 

He does not seem to have had any interest in the operatic form and, too, he never lived in a major court city (such as Dresden or Berlin), where an opera company would have been part of any composer’s focus — much less an urban center with its own opera tradition, such as Hamburg, Venice or London. Why, then, would we want to have one of his grander compositions — in this case, the St. Matthew Passion — enacted on stage, with the singers playing parts, when Bach seems to have intended the music and the message to reach our ears without benefit of stage pictures at all?

Handel’s oratorios are sometimes based on stage plays (Esther, Athalia, Hercules), and the laws against staging Bible stories in England were only withdrawn in the twentieth century — the arguments for presenting them fully staged are clear and often convincing, as are staged productions. Besides, Handel had plenty of stage experience and knew how to run the machine as well as anybody. Bach never got that experience.

What has been achieved in Jonathan Miller’s long-celebrated staging of St. Matthew, recently presented at the Brooklyn Academy of Music, is an emphasis on the story to vie with the music, an urgency to the unfolding drama, an intensification of the (perhaps obscure) message of the crucifixion. The singers are acting, and they are catching our eyes, and they are putting a force behind the meaning of the music that is rare in even the most intense concert or church performance — they are underlining the theatricality of ritual, the ritual nature of theater — they are pulling us into an event of two thousand years ago with the intent of obliging us to think about it, take it seriously, of not permitting us to pass it off, whether we agree with Bach’s (and St. Matthew’s) interpretation or not. Further to bring it home to an Anglophone audience, the work is sung not in Bach’s German but in Robert Shaw’s singable English translation.

Since the singers are in street clothes of our era (who ever thought of Jesus as a rather pudgy fellow in a red sweatshirt? — the dignified Curtis Streetman), the result is to make the story very “lived,” very immediate, to highlight the emotions of which Bach’s melodies sing. My date, a Christian lady of a certain age, said it added to her appreciation of the story that so many of the chorales were hymns she is used to singing in church. I associate them with concerts of Bach — but perhaps this ties us to something like the feelings of the audience for the original classical tragedies, when the Aeschylean chorus interrupts the action to sing of some relevant myth or other. We were getting an active story, portrayed by modern-dress “actors,” while the chorus gave us their asides as well as their active participation in the drama’s many small roles. But this theatricality was intentionally undercut, not only by costume but by positioning — the players, orchestra and singers, sat in the center of the stage, and audience members were seated around them, indistinguishable — except they were the ones with programs. We were asked to see this as a tale of the people, of ourselves, being told among ourselves, by performers who were also ourselves. Theater and ritual alike were deemphasized.

We could imagine that we were in Jerusalem that holy week, seeing these things as they happened — as Bach perhaps wished us to imagine ourselves. This called for singers (chorus as well as soloists) capable of acting out the story as well as singing it, and the self-deception allowing us to imagine we could sing as well as Rufus Müller (the Evangelist), Suzie LeBlanc and Daniel Taylor. I mention LeBlanc and Taylor particularly, because I am familiar with their work in various early music venues, and because both of them were exceptionally fine in their arias in St. Matthew: clear, focused voices so clear and full of belief as to give the illusion they were singing at no more than conversational volume.

For believers, I imagine, this approach would pack a thrilling punch. For those of any faith who believe in Bach and in the expressive possibilities of the voice, it was a joy to be part of so powerful a performance.

John Yohalem

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):