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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.
As the Britten centenary events draw to a close, the Birmingham Royal Ballet are offering one final highlight: a new version of Britten’s only ballet, The Prince of the Pagodas, with choreography by David Bintley.
Nashville Opera Artistic Director John Hoomes set the opera as Violetta’s dying dream, so colors and other aspects of the backgrounds were symbolic and bright.
Will wonders never cease? Wheat stalks 6 meters high? Rats 2 meters tall. Setting Donizetti’s little comedy amidst biological mutations engendered by Chernobyl does seem a bit farfetched.
Handel’s great opus, Rodelinda, at English National Opera on
Friday night was the latest in the Coliseum’s recent run of new and
co-produced productions, and also renowned director Peter Jones’ latest foray
into the world of opera.
On Sunday afternoon, February 23, 2014, San Diego Opera presented The Elixir of Love in a traditional production by Stephen Lawless.
Billy Budd, portrayed by handsome lyric tenor Liam Bonner, is a charismatic embodiment of innocence.
This was in almost every respect an excellent performance — which therefore exacerbates the problem lying at the heart, or whatever it is that lies in its place, of the work itself.
Bilbao is always news, Calixto Bieito is always news, Carmen with a good cast is always news. So here is the news.
French mistresses are much in the news these days, and now the Théâtre du Capitole’s new production of Donizetti’s La Favorite has added considerable fuel to the fire.
In a 1960 BBC interview, Britten explained to Lord Harewood: ‘I was very much influenced by [W.H.] Auden
Michael Tippett’s opera King Priam premiered as part of the
same arts festival in Coventry for which Britten’s War Requiem was
written and in fact the two works have something in common, dealing with the
issues of war and its consequences.
In Lyric Opera of Chicago’s recent performances of Johann Strauss’s
Die Fledermaus several debuts are notable to both American and Chicago
One wonders if it wasn’t rather risky of ENO to stage a new version of Rigoletto when Jonathan Miller’s ‘mafioso’ production, which served the company so well for a quarter of a century, is still fresh in opera-goers’ minds and hearts?
Its soothing wooden walls gently bathed in aquamarine light, the very modern Hall at King’s Place made a surprisingly fitting venue for a musical journey to the intimate Elizabethan chamber.
A handsome new production, beautifully staged in Marseille’s fine old opera house cried out for a cast to make the opera bel canto.
Harry Bicket and the English Concert brought Handel's wonderful late oratorio Theodora to the Barbican on Saturday 8 February 2014 after a Tour in America and now taking in Birmingham, London and Paris.
Opera in the British Isles might seem a rather sparse subject in the period 1875 to 1918. Notoriously described as the land without music, even the revival of the native tradition of composers did not include a strong vein of opera.
It is not often that a Aaron Copland's The Tender Land comes along with resources like those of the Opéra de Lyon, one of Europe's finest. So carpe diem!
Kasper Holten’s new production of Don Giovanni at the Royal Opera
House risks laying the house’s Director of Opera open to charges of
antiquated mores and misogyny: for he seems to suggest that the women are just
as bad, if not worse, than their seducer — and that a soulful man who seeks
genuine love is likely to find his ‘ideal beloved’ forever out of reach.
07 Jul 2009
Benjamin Britten: A Time There Was. . .
With its’ title taken from the composer’s Suite of English Folk Tunes, Op. 90, Tony Palmer’s film Benjamin Britten: A Time There Was
is a solid documentary assembled from interviews, rehearsal clips, photographs and other audio-visual materials to create a vivid portrait of the composer.
A Time There Was
is refreshingly straightforward, without artifice to alter the emphasis implicit in the documentation itself. The comments of family members are touchingly revealing. Some of the details are remarkably pithy about the environment in which Britten grew up, and Palmer is good not to editorialize. Details take shape within the context of the film. For example, Britten’s cousin Elsie’s comment about the composer’s prescience might sound out of place, but Palmer’s inclusion of it underscores some of Leonard Bernstein’s remarks about Britten’s music, and touches like these are entirely characteristic of the film.
Originally released in 1979, just three years after Britten’s death, this issue on DVD makes the film available to new audiences. (A comprehensive filmography is available at www.tonypalmer.org.) More than that, the release demonstrates the strength of Palmer’s film, which holds up well after three decades. While some of the footage in A Time There Was
has a grainy look, that quality contributes to the overall feel of Palmer’s film in bringing forward firsthand materials to document his subject. In terms of the concept and sense of the whole, A Time There Was
remains a fine, convincing portrait in film. Unlike some more recent film biographies, it lacks some of the aspects of the biopic by remaining close to the subject. The narrative is implicit in the images and pacing Palmer brings to the screen. The director is present in the presentations, not as a rear of a head asking questions in interviews or contributing a narrative to hold the images together. The images lead one to the other, and the narrative is found within the careful editing of the source material.
In addition the rehearsal clips give a sense of Britten working on his music in ways that others could not convey as effectively. In addition, the judicious selection of musical examples helps to anchor the film nicely in the sonic world Britten created. Not everyone would choose the same examples, but Palmer achieved a representative variety, which not only gives those unfamiliar with Britten’s music a useful introduction, but also serves to remind those who know the repertoire to return with renewed interest. For example, Britten’s contributions to film may not be the entire basis for his reputation, but the fact that he worked in this idiom is useful information. More than that, his efforts are not without interest, especially in the clip which Palmer used from the film The Way to the Sea.
At the same time, the treatment of the relationship between Britten and Peter Pears is sensitive and balanced. It is neither condescending nor apologetic, and that is as it should be. As appropriate as it now seems, such a balanced approach seems to be remarkable for its time, and the result stands well, decades after Palmer originally released the documentary.
While a fine body of primary and secondary materials exist in print to document Britten’s life and works, this documentary brings certain aspects of his career to life in ways that film does best. To Palmer’s credit, his films on Ralph Vaughan Williams, Malcolm Arnold, Igor Stravinsky, and others have earned his praise, and the release on DVD of the present documentary about Benjamin Britten stands well with the others. A solid film when it was first issue, this newly issued DVD continues to make available an important and engaging resource on Britten.
James L. Zychowicz