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

TOSCA: A Dramatic Sing-Fest

On November 12, 2017, Arizona Opera presented Giacomo Puccini’s verismo opera, Tosca, in a dramatic production directed by Tara Faircloth. Her production utilized realistic scenery from Seattle Opera and detailed costumes from the New York City Opera. Gregory Allen Hirsch’s lighting made the set look like the church of St. Andrea as some of us may have remembered it from time gone by.

The Lighthouse: Shadwell Opera at Hackney Showroom

‘Only make the reader’s general vision of evil intense enough … and his own experience, his own imagination, his own sympathy … and horror … will supply him quite sufficiently with all the particulars. Make him think the evil, make him think it for himself, and you are released from weak specifications.’

Elisabeth Kulman sings Mahler's Rückert-Lieder with Sir Mark Elder and the Britten Sinfonia

Austrian singer Elisabeth Kulman has had an interesting career trajectory. She began her singing life as a soprano but later shifted to mezzo-soprano/contralto territory. Esteemed on the operatic stage, she relinquished the theatre for the concert platform in 2015, following an accident while rehearsing Tristan.

Tremendous revival of Katie Mitchell's Lucia at the ROH

The morning sickness, miscarriage and maundering wraiths are still present, but Katie Mitchell’s Lucia di Lammermoor, receiving its first revival at the ROH, seems less ‘hysterical’ this time round - and all the more harrowing for it.

Manon in San Francisco

Nothing but a wall and a floor (and an enormous battery of unseen lighting instruments) and two perfectly matched artists, the Manon of soprano Ellie Dehn and the des Grieux of tenor Michael Fabiano, the centerpiece of Paris’ operatic Belle Époque found vibrant presence on the War Memorial stage.

Garsington Opera’s Silver Birch on BBC Arts Digital

Audiences will have the chance to feel part of a new opera inspired by Siegfried Sassoon’s poems with an innovative 360-degree simulated experience of Garsington Opera’s Silver Birch on BBC Arts Digital from midday, Wednesday 8th November.

Mozart’s Requiem: Pierre-Henri Dutron Edition

The stories surrounding Mozart’s Requiem are well-known. Dominated by the work in the final days of his life, Mozart claimed that he composed the Requiem for himself (Landon, 153), rather than for the wealthy Count Walsegg’s wife, the man who had commissioned it in July 1791.

A beguiling Il barbiere di Siviglia from GTO

I had mixed feelings about Annabel Arden’s production of Il barbiere di Siviglia when it was first seen at Glyndebourne in 2016. Now reprised (revival director, Sinéad O’Neill) for the autumn 2017 tour, the designs remain a vibrant mosaic of rich hues and Moorish motifs, the supernumeraries - commedia stereotypes cum comic interlopers - infiltrate and interact even more piquantly, and the harpsichords are still flying in, unfathomably, from all angles. But, the drama is a little less hyperactive, the characterisation less larger-than-life. And, this Saturday evening performance went down a treat with the Canterbury crowd on the final night of GTO’s brief residency at the Marlowe Theatre.

Brett Dean's Hamlet: GTO in Canterbury

‘There is no such thing as Hamlet,’ says Matthew Jocelyn in an interview printed in the 2017 Glyndebourne programme book. The librettist of Australian composer Brett Dean’s opera based on the Bard’s most oft-performed tragedy, which was premiered to acclaim in June this year, was noting the variants between the extant sources for the play - the First, or ‘Bad’, Quarto of 1603, which contains just over half of the text of the Second Quarto which published the following year, and the First Folio of 1623 - no one of which can reliably be guaranteed superiority over the other.

Schumann and Mahler Lieder : Florian Boesch

Schumann and Mahler Lieder with Florian Boesch and Malcolm Martineau, now out from Linn Records, following their recent Schubert Winterreise on Hyperion. From Boesch and Martineau, excellence is the norm. But their Mahler Lieder eines fahrenden Gesellen takes excellence to even greater levels

WNO's Russian Revolution series: the grim repetitions of the house of the dead

‘We lived in a heap together in one barrack. The flooring was rotten and an inch deep in filth, so that we slipped and fell. When wood was put into the stove no heat came out, only a terrible smell that lasted through the winter.’ So wrote Dostoevsky, in a letter to his brother, about his experiences in the Siberian prison camp at Omsk where he was incarcerated between 1850-54, because of his association with a group of political dissidents who had tried to assassinate the Tsar. Dostoevsky’s ‘house of the dead’ is harrowingly reproduced by Maria Björsen’s set - a dark, Dantesque pit from which there is no possibility of escape - for David Pountney’s 1982 production of Janáček’s final opera, here revived as part of Welsh National Opera’s Russian Revolution series.

The 2017 Glyndebourne Tour arrives in Canterbury with a satisfying Così fan tutte

A Così fan tutte set in the 18th century, in Naples, beside the sea: what, no meddling with Mozart? Whatever next! First seen in 2006, and now on its final run before ‘retirement’, Nicholas Hytner’s straightforward account (revived by Bruno Ravella) of Mozart’s part-playful, part-piquant tale of amorous entanglements was a refreshing opener at the Marlowe Theatre in Canterbury where Glyndebourne Festival Opera arrived this week for the first sojourn of the 2017 tour.

Richard Jones's Rodelinda returns to ENO

Shameless grabs for power; vicious, self-destructive dynastic in-fighting; a self-righteous and unwavering sense of entitlement; bruised egos and integrity jettisoned. One might be forgiven for thinking that it was the current Tory government that was being described. However, we are not in twenty-first-century Westminster, but rather in seventh-century Lombardy, the setting for Handel’s 1725 opera, Rodelinda, Richard Jones’s 2014 production of which is currently being revived at English National Opera.

Amusing Old Movie Becomes Engrossing New Opera

Director Mario Bava’s motion picture, Hercules in the Haunted World, was released in Italy in November 1961, and in the United States in April 1964. In 2010 composer Patrick Morganelli wrote a chamber opera entitled Hercules vs. Vampires for Opera Theater Oregon.

Rigoletto at Lyric Opera of Chicago

If a credible portrayal of the title character in Giuseppe Verdi’s Rigoletto is vital to any performance, the success of Lyric Opera of Chicago’s current, exciting production hinges very much on the memorable court jester and father sung by baritone Quinn Kelsey.

Wexford Festival Opera 2017

‘What’s the delay? A little wind and rain are nothing to worry about!’ The villagers’ indifference to the inclement weather which occurs mid-way through Jacopo Foroni’s opera Margherita - as the townsfolk set off in pursuit of two mystery assailants seen attacking a man in the forest - acquired an unintentionally ironic slant in Wexford Opera House on the opening night of Michael Sturm’s production, raising a wry chuckle from the audience.

The Genius of Purcell: Carolyn Sampson and The King's Consort at the Wigmore Hall

This celebration of The Genius of Purcell by Carolyn Sampson and The King’s Consort at the Wigmore Hall was music-making of the most absorbing and invigorating kind: unmannered, direct and refreshing.

Hans Werner Henze : Kammermusik 1958

"....In lieblicher Bläue". Landmark new recordings of Hans Werner Henze Neue Volkslieder und Hirtengesänge and Kammermusik 1958 from the Scharoun Ensemble Berlin, with Andrew Staples, Markus Weidmann, Jürgen Ruck and Daniel Harding.

Written on Skin: the Melos Sinfonia take George Benjamin's opera to St Petersburg

As I approach St Cyprian’s Church in Marylebone, musical sounds which are at once strange and sensuous surf the air. Inside I find seventy or so instrumentalists and singers nestled somewhat crowdedly between the pillars of the nave, rehearsing George Benjamin’s much praised 2012 opera, Written on Skin.

Classical Opera/The Mozartists celebrate 20 years of music-making

Classical Opera celebrated 20 years of music-making and story-telling with a characteristically ambitious and eclectic sequence of musical works at the Barbican Hall. Themes of creation and renewal were to the fore, and after a first half comprising a variety of vocal works and short poems, ‘Classical Opera’ were succeeded by their complementary alter ego, ‘The Mozartists’, in the second part of the concert for a rousing performance of Beethoven’s Choral Symphony - a work described by Page as ‘in many ways the most iconic work in the repertoire’.

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):