25 Jun 2009
Ligeti’s Le Grand Macabre shocks Rome but only mildly
Le Grand Macabre is the only opera of György Ligéti, one of the major composers of the 20th century.
The Wigmore Hall complete Schubert song series continued with a recital by Georg Nigl and Andreas Staier. Staier's a pioneer, promoting the use of fortepiano in Schubert song. In Schubert's time, modern concert pianos didn't exist. Schubert and his contemporaries would have been familiar with a lighter, brighter sound. Over the last 30 years, we've come to better understand Schubert and his world through the insights Staier has given us. His many performances, frequently with Christoph Prégardien at the Wigmore Hall, have always been highlights.
On 9 January 2017 the London Festival of Baroque Music (formerly the Lufthansa Festival of Baroque Music) announced its programme for 2017. The Festival theme for 2017 is Baroque at the Edge. Inspired by the anniversaries of Monteverdi (450th of birth) and Telemann (250th of death) the Festival explores the ways that composers and performers have pushed at the chronological, stylistic, geographical and expressive boundaries of the Baroque era.
On Thursday 19th January, opera lovers around the world started bidding online for rare and prized items made available for the first time from Opera Rara’s collection. In addition to the 26 lots auctioned online, 6 more items will be made available on 7 February - when online bidding closes - at Opera Rara’s gala dinner marking the final night of the auction. The gala will be held at London’s Caledonian Club and will feature guest appearances from Michael Spyres and Joyce El-Khoury.
Classical Opera’s MOZART 250 project has reached the year 1767. Two years ago, the company embarked upon an epic, 27-year exploration of the music written by Mozart and his contemporaries exactly 250 years previously. The series will incorporate 250th anniversary performances of all Mozart’s important compositions and artistic director Ian Page tells us that as 1767 ‘was the year in which Mozart started to write more substantial works - opera, oratorio, concertos this will be the first year of MOZART 250 in which Mozart’s own music dominates the programme’.
‘[T]hey moderated or increased their voices, loud or soft, heavy or light according to the demands of the piece they were singing; now slowing, breaking of sometimes with a gentle sigh, now singing long passages legato or detached, now groups, now leaps, now with long trills, now with short, or again, with sweet running passages sung softly, to which one sometimes heard an echo answer unexpectedly. They accompanied the music and the sentiment with appropriate facial expressions, glances and gestures, with no awkward movements of the mouth or hands or body which might not express the feelings of the song. They made the words clear in such a way that one could hear even the last syllable of every word, which was never interrupted or suppressed by passages or other embellishments.’
An exceptional Wagner Der fliegende Holländer, so challenging that, at first, it seems shocking. But Kasper Holten's new production, currently at the Finnish National Opera, is also exceptionally intelligent.
A welcome addition to Lyric Opera of Chicago’s roster was its recent production of Jules Massenet’s Don Quichotte.
800 years ago, every book was a precious treasure - ‘written on skin’. In George Benjamin’s and Martin Crimp’s 2012 opera, Written on Skin, modern-day archivists search for one such artefact: a legendary 12th-century illustrated vanity project, commissioned by an unnamed Protector to record and celebrate his power.
It was like a “Date Night” at Staatsoper unter den Linden with its return of Eike Gramss’ 2012 production of Puccini’s Madama Butterfly. While I entered the Schiller Theater, the many young couples venturing to the opera together, and emerging afterwards all lovey-dovey and moved by Puccini’s melodramatic romance, encouraged me to think more positively about the future of opera.
For the Late Night concert after the Saturday series, fifteen Berliners backed up Barbara Hannigan in yet another adventurous collaboration on a modern rarity with Simon Rattle. I was completely unfamiliar with the French composer, but the performance tonight made me fall in love with Gérard Grisey’s sensually disintegrating soundscape Quatre chants pour franchir le seuil, or “Fours Songs to cross the Threshold”.
One of the things I love about the Philharmonie in Berlin, is the normalcy of musical excellence week after week. Very few venues can pull off with such illuminating star wattage. Michael Schade, Anne Schwanewilms, and Barbara Hannigan performed in two concerts with two larger-than-life conductors Thielemann and Rattle. We were taken on three thrilling adventures.
Lyric Opera of Chicago’s original and superbly cast production of Hector Berlioz’s Les Troyens has provided the musical public with a treasured opportunity to appreciate one of the great operatic achievements of the nineteenth century.
The Little Opera Company opened its 21st season by championing its own, as it presented the world premiere of Winnipeg composer Neil Weisensel’s Merry Christmas, Stephen Leacock.
In 2015, Bampton Classical Opera’s production of Salieri’s La grotta di Trofonio - a UK premiere - received well-deserved accolades: ‘a revelation ... the music is magnificent’ (Seen and Heard International), ‘giddily exciting, propelled by wit, charm and bags of joy’ (The Spectator), ‘lively, inventive ... a joy from start to finish’ (The Oxford Times), ‘They have done Salieri proud’ (The Arts Desk) and ‘an enthusiastic performance of riotously spirited music’ (Opera Britannia) were just some of the superlative compliments festooned by the critical press.
How many singers does it take to make an opera? There are single-role operas - Schönberg’s Erwartung (1924) and Eight Songs for a Mad King by Peter Maxwell Davies (1969) spring immediately to mind - and there are operas that just require a pair of performers, such as Rimsky-Korsakov’s Mozart i Salieri (1897) or The Telephone by Menotti (1947).
Now in its 31st year, the 2016 Christmas Festival at St John’s Smith Square has offered sixteen concerts performed by diverse ensembles, among them: the choirs of King’s College, London and Merton College, Oxford; Christchurch Cathedral Choir, Oxford; The Gesualdo Six; The Cardinall’s Musick; The Tallis Scholars; the choirs of Trinity College and Clare College, Cambridge; Tenebrae; Polyphony and the Orchestra of the Age of the Enlightment.
As 2016 draws to a close, we stand on the cusp of a post-Europe, pre-Trump world. Perhaps we will look back on current times with the nostalgic romanticism of Richard Strauss’s 1911 paean to past glories, comforts and certainties: Der Rosenkavalier.
Ah, Loft Opera. It’s part of the experience to wander down many dark streets, confused and lost, in a part of Brooklyn you’ve never been. It is that exclusive—you can’t even find the performance!
Let’s start by getting a couple of gripes out of the way. First, the final act of Die Walküre does not constitute a full-length concert, even with a distinguished cast and orchestra, and with animated drawings fluttering on a giant screen.
When you combine two charismatic New York stage divas with the artistry of Los Angeles Opera, you have a mix that explodes into singing, dancing and an evening of superb entertainment.
Le Grand Macabre is the only opera of György Ligéti, one of the major composers of the 20th century.
It is also one of the contemporary operas most frequently performed in Europe. Ligéti composed two different versions of Le Grand Macabre — the former had its debut in Stockholm in 1978, the latter in Salzburg in 1997. The main difference is that the second version replaces almost all the spoken parts with recitative. The production at the Teatro dell’Opera di Roma (June 18-23) is a world-wide affair. It started in Brussels a few months ago. From the Italian capital it will travel to Sidney, Australia. In the fall, it will have a long spell at the English National Opera in London and at the Liceu in Barcelona. It might go on to the US and other major European opera houses in 2010.
It is a grand, and very costly, production organized by the Catalan Group La Fura dels Baus , now very trendy — the Group has staged the entire Ring in Florence and Valencia; and it is booked by La Scala for a new production of Tannäuser, which will also be shown in Berlin and other major houses.
Le Grand Macabre reaches Rome with a reputation of scandal and even perversion. In January-February, the Brussels performances were well received by the audience but a few reviewers — including The New York Times — wrote about “debauchery” on stage. The new management of the Teatro dell’Opera advertised that the production is “for an adult audience”. At the opening nights, there were a few boos at some sexually explicit moments in the opera (in particular in the second scene of the first act) but the audience did not seem shocked. If it did, it was a very mild shock. Rome has been for centuries the Babylon of Europe and is accustomed to almost everything. There were several curtain calls, but (as it is often the case when a modern opera is on stage) a few rows and many boxes were empty.
Let us place Le Grand Macabre in its proper context. In his own comments to the second version of the opera, Ligéti said that he initially intended to compose a singspiel, but eventually he wrote a full opera because, among other things, it is difficult to find singers equally good at singing, acting and dancing. He also clarifies that, as a Hungarian, he was well-acquainted with operetta. Finally, his main operatic sources of inspiration were Monteverdi’s L’Incoronazione di Poppea and Verdi’s Falstaff. In short, even though Le Grand Macabre requires a huge orchestra and ten soloists, Ligéti thought of something light (the duration of the two acts is around 100 minutes) and very ironic. There are quotations from Verdi, Donizetti, Stravinsky, Mozart and, of course, Monteverdi in both the vocal and the orchestral score, which add irony to an otherwise late 20th century musical work (it is influenced by both the German Darmstadt School and the French ICRAM School. Along with numerous rhythmic orchestral passages, “declamation” slides easily into “arioso” and “duets”.
Irony also arises in the text. Based on a Belgian play, it is an allegory. In Bruegeland (a country based on Bruegel’s paintings), an asteroid is about to destroy every living thing on the planet. As the news breaks that death is near, the reaction of the populace is extreme sex (from the adolescent sex of a vigorous couple of teen agers to sadomasochistic sex of the Court’s astrologist and his wife). A few take up drinking, instead. The second part takes place in the corridors of power. As death arrives, intrigue and deception become pointless. Rather, it is better to join all in a crazy dance (a wild 15th century “ciaccona”). Mr. Death is expected to do all the killing and all the destroying, but finds more fun in joining the humanity in extreme sex and wild dancing . Thus, Bruegeland’s last day is postponed, perhaps forever.
In my opinion, La Fura dels Baus uses a very heavy hand in the stage production that clashes with Ligéti’s sophisticated and elegant score. The stage is dominated by a huge statue of woman in progressive decomposition where the characters come out from very private parts of her body. Irony does not seem to be a gift of the Catalan Group, even though, thanks to Ligéti’s music, it is manifest in the second part (especially in the “ciaccona”).
The orchestra responds extremely well to Zoltán Peskó’s conducting. Peskó is a compatriot and long-time friend of Ligéti. He is thus, fully equipped to show all the delicate nuances of the score. Chris Merritt has completed his transition from Bellini and Rossini coloratura belcanto to a high baritone for 20th century works. Brian Asawa is the best countertenor now available world-wide. Sir Willard White is as imposing as ever. Nicholas Isherwood is a master of early British music where it is quoted in the score. Caroline Stein is now a veteran of the double role a sensual Venus and a cynic Gepopo. Ning Liang is a vicious Nescalina. Annie Vavrille and Ilse Eerens are just delightful as the amorous teenagers.