Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Will Don Quichotte Be the Last Production at San Diego Opera?

This quotation from Cervantes was displayed before the opening of the opera’s final scene:

“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”

Gound Faust - Calleja and Terfel, Royal Opera House London

Gounod's Faust makes a much welcomed return to the Royal Opera House. With each new cast, the dynamic changes as the balance between singers shifts and brings out new insights. In that sense, every revival is an opportunity to revisit from new perspectives. This time Bryn Terfel sang Méphistophélès, with Joseph Calleja as Faust - stars whose allure certainly helped fill the hall to capacity. And the audience enjoyed a very good show.

Syracuse Opera’s Porgy and Bess
Got Plenty O’ Plenty

The company ends its 2013-14 season on a high note with a staged performance of Gershwin’s theatrical masterpiece

A New Rusalka in Chicago

Lyric Opera of Chicago’s new production of Antonin Dvorak’s Rusalka is visually impressive and fulfills all possible expectations musically with unquestioned excitement.

Karlsruhe’s Mixed Blessing Ballo

The reliable Badisches Staatstheater has assembled plenty of talent for its new Un Ballo in Maschera.

Louise Alder, Wigmore Hall

This varied, demanding programme indisputably marked soprano Louise Alder as a name to watch.

Luke Bedford: Through His Teeth, Linbury, Royal Opera House

Can this be the best British opera in years? Luke Bedford’s Through His Teeth at the Royal Opera House’s Linbury Theatre is exceptional. Drop everything and go.

Powder Her Face, ENO

As one descends the steel steps into the cavernous bunker of Ambika P3, one seems about to enter rather insalubrious realms — just right one might imagine, then, for an opera which delves into the depths of the seedier side of celebrity life.

Iphigénie Fascinates in the Pfalz

Kaiserslautern’s Pfalztheater has produced a tantalizing realization of Gluck’s Iphigénie en Aulide, characterized by intriguing staging, appealing designs, and best of all, superlative musical standards.

ROH presents Cavalli’s L’Ormindo at the Sam Wanamaker Playhouse, London

Never thought I’d say it but......

Harrison Birtwistle, Elliott Carter, Wigmore Hall, London

Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.

Requiem for a Lost Opera Company

On Wednesday, March 19, 2014, General Director Ian Campbell of San Diego Opera announced that the company would go out of business at the end of this season. The next day the company performed their long-planned Verdi Requiem with a stellar cast including soprano Krassimira Stoyanova, mezzo-soprano Stephanie Blythe, tenor Piotr Beczala, and bass Ferruccio Furlanetto.

The Met’s Werther a tasty mix of singing, staging, acting and orchestral splendor

Visual elements in Richard Eyre’s striking production offset Massenet’s melodic shortcomings

Chicago’s New Barber of Seville

New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.

Lucia in LA: A Performance to Remember

On March 15, 2014, Los Angeles Opera presented Elkhanah Pulitzer’s production of the opera, which she set in 1885 when women were beginning to be recognized as persons separate from their fathers, brothers and husbands. At that time many European countries were beginning to allow women to own property, obtain higher education, and choose their husbands.

San Diego Opera Presents an All Star Ballo in Maschera

On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.

Anne Schwanewilms, Wigmore Hall

From the moment she walked, resplendent in red, onto the Wigmore Hall platform, Anne Schwanewilms radiated a captivating presence — one that kept the audience enthralled throughout this magnificent programme of Romantic song.

Die Frau ohne Schatten, Royal Opera

Magnificent! Following the first night of this new production of Die Frau ohne Schatten, I quipped that I could forgive an opera house anything for musical performance at this level, whether orchestral, vocal, or, in this case, both.

La Fille du regiment, Royal Opera

Donizetti’s opera comique La Fille du regiment returned to the Royal Opera House, Covent Garden, for its third revival.

Schoenberg and company

With Schoenberg, I tend to take every opportunity I can — at least since my first visit to the Salzburg Festival, when understandably I chose to see Figaro over Boulez conducting Moses und Aron, though I have rued the loss ever since.

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):