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

A scene from Le Grand Macabre
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.

György Ligéti: Le Grand Macabre

Piet the pot: Chris Merritt; Amando: Annie Vavrille; Amanda: Ilse Eerens; Nekrotzar: Sir Willard White /Roberto Abbondanza; Astradamors: Nicholas Isherwood; Mescalina: Ning Liang; Venus: Caroline Stein; Prince Go-Go: Brian Asawa; White Minister: Eberhard Francesco Lorenz; Black Minister: Martin Winkler; Gepopo: Caroline Stein. Orchestra e Coro del Teatro Dell’opera. Maestro concertatore e Direttore: Zoltán Peskó. Maestro del Coro: Andrea Giorgi. Ideazione: Alex Ollè (La Fura dels Baus) & Valentina Carrasco. Regia: Alex Ollè.

Above: A scene from Le Grand Macabre

 

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”.

grand_macabre_02.gif

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.

Giuseppe Pennisi

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):