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.
At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.
This elegant, smartly-paced film turns Gluck’s Orfeo into a Dostoevskian study of a guilt-wracked misanthrope, portrayed by American countertenor Bejun Mehta.
Ossia Il barbiere di Siviglia. Why waste a good tune.
In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.
Both by default and by merit Il barbiere di Siviglia is the hit of the thirty-fifth Rossini Opera Festival. But did anyone really want, and did the world really need yet another production of this old warhorse?
Armida (1817) is the third of Rossini’s nine operas for the Teatro San Carlo in Naples, all serious. The first was Elisabetta, regina di Inghilterra (1815), the second was Otello (1816), the last was Zelmira (1822).
Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.
Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.
Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.
Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.
On August 7, 2014, the Santa Fe Opera presented a double bill of Wolfgang Amadeus Mozart’s The Impresario and Igor Stravinsky’s Le Rossignol (The Nightingale). The Impresario deals with the casting of an opera and Le Rossignol tells the well-known fairy tale about the plain gray bird with an exquisite song.
Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.
In typical Proms fashion, BBC Prom 28 saw Stravinsky's Oedipus Rex performed in an eclectic programme which started with Beethoven's Egmont Overture and also featured Electric Preludes by the contemporary Australian composer Brett Dean. Sakari Oramo,was making the first of his Proms appearances this year, conducting the BBC Symphony Orchestra, BBC Singers and BBC Symphony Chorus.
Santa Fe Opera presented Beethoven’s Fidelio for the first time in 2014. Since the sides of the opera house are open, the audience watched the sun redden the low hanging clouds and set below the Sangre de Cristo mountains while Chief Conductor Harry Bicket led the Santa Fe Opera Orchestra in the rousing overture. At the same time, Alex Penda as the title character readied herself for the ordeal to come as she endeavored to rescue her unjustly imprisoned husband.
We see the characters first in two boxes at an opera house. The five singers share a box and stare at the stage. But Konstanze’s eye is caught by a man in a box opposite: Bassa Selim (actor Tobias Moretti), who stares steadily at her and broods in voiceover at having lost her, his inspiration.
Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17.
Twelve years after Opera Holland Park's first production of Francesco Cilea’s Adriana Lecouvreur, the opera made a welcome return.
The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre.
Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission.
If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.
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.