07 Jul 2009
Saariaho’s sumptuous L’amour de loin at the ENO, London
Absence of plot is by no means an impediment in opera.
For its annual visit to the BBC Proms at the Royal Albert Hall, Glyndebourne brought its new production of Rossini's Il barbiere di Siviglia, an opera which premiered 200 years ago.
‘A caprice written with the point of a needle’: so Berlioz described his opera Béatrice and Bénédict, which pares down Shakespeare’s Much Ado About Nothing to its comic quintessence, shorn of the sub-plots, destroyed reputations and near-bloodshed of Shakespeare’s original.
‘This is the way the world ends. Not with a bang but a whimper.’ It is, perhaps, a line quoted too often; yet, even though it may not have been entirely accurate on this occasion, it came to my mind. Its accuracy might be questioned in several respects.
Central City Opera celebrated the 60th anniversary of The Ballad of Baby Doe with a hip, canny, multi-faceted new production.
Someone forgot to tell Central City Opera that it would be difficult to fit Puccini’s (usually) architecturally large Tosca on their small stage.
A cast worthy of Bayreuth made for an unforgettable Wagnerian experience at the Sommer Festspiele in Baden-Baden.
Loving attention to the highest quality was everywhere evident in Des Moines Metro Opera’s Manon.
Des Moines Metro Opera had (almost) all the laughs in the right places, and certainly had all the right singers in these meaty roles to make for an enjoyable outing with Verdi’s masterpiece
With the thermometers reaching boiling point, there’s no doubt that summer has finally arrived in London. But, the sun seems to have been shining over the large marquee in Holland Park all summer.
J.S. Bach’s cerebral Art of the Fugue in Aix, Verdi’s massive Requiem in Orange, Ibn al-Muqaffa’ ‘s fable of the camel, jackal, wolf and crow, Sophocles’ blind Oedipus Rex and the Bible’s triumphant Psalm No. 150 in Aix.
The champagne corks popped at the close of this year’s Jette Parker Young Artists Summer Performance at the Royal Opera House, with Prince Orlofsky’s celebratory toast forming a fitting conclusion to some superb singing.
Bryn Terfel is making a habit of performing Russian patriarchs at the Proms.
What happens when just everything about an operatic performance goes joyously right?
Two years ago, the well-established Des Moines Metro Opera experimented with a 2nd Stages program, with performances programmed outside of their home stage at Simpson College.
What to make of the unannounced decision to open this concert with the Marseillaise? I am sure it was well intended, and perhaps should leave it at that.
In a fairy-tale, it can sometimes feel as if one is living a dream but on the verge of being awoken to a shock. Such is life in these dark and uncertain days.
The tense, three hour knock-down-drag-out seduction of Beauty by Pleasure consumed our souls in this triumphal evening. Forget Time and Disillusion as destructors, they were the very constructors of the beauty and pleasure found in this miniature oratorio.
Three parallel universes (before losing count) — the ephemeral Debussy/Maeterlinck masterpiece, the Debussy symphonic tone poem, and the twisted intricacies of a moldy, parochially English country estate.
This, alas, was where I had to sign off. A weekend conference on Parsifal (including, on the Saturday, a showing of Hans-Jürgen Syberberg’s Parsifal film) mean that I missed Götterdämmerung, skipping straight to the sequel.
The culmination of Opera North’s “Ring for Everyone”, this Götterdämmerung showed the power of the condensed movement so necessary in a staged performance - each gesture of each character was perfectly judged - as well as the visceral power of having Wagner’s huge orchestra on stage as opposed to the pit.
Absence of plot is by no means an impediment in opera.
This new production at The English National Opera, created by noted circus director Daniele Finzi Pasca proves that superlative staging can make up for weak narrative. Through visual images, the spirit of L’Amour de loin is invoked to express the drama beneath the music, better than the text itself.
Kaija Saariaho’s music wavers in a langorous swoon. Cadences rise and fall away, legato rippling upwards and down without regard to syntax. This is lavishly sensual, complete with faint echoes of the French medieval world of the troubadour, Jaufré Rudel (Roderick Williams), and the “Moorish” exoticism of Tripoli where the heroine Clémence (Joan Rodgers), resides. It’s the musical equivalent of intoxicating fumes, perfume or perhaps some strange potion inhaled through a hookah. Dramatic structure isn’t relevant to mood music as dream-like as this.
Love, after all, is an “altered state” where logic doesn’t apply, particularly in the case of idealized troubadour love, where artistic indulgence is as much an impetus as the love object. No wonder Jaufré panics and becomes fatally ill when he crosses the sea to meet Clémence for the first time. Unlike Tristan und Isolde where strong characters are transformed by a potion, to the horror of those around them, everyone in L’amour de loin, even the Pilgrim, is complicit in the dream state, so intensity dissolves in romantic washes of chromatic color.
Saariaho’s writing works best describing images like the ocean crossing, one of the most brilliant scenes in this production where light images are projected onto waving expanses of silk. It’s less suited to dramatic rationale. Jaufré and The Pilgrim debate endlessly whether he’s mad but the point’s already made in the music. Narrative meaning is further obscured by the distortion of natural rhythm and by dropping single spoken words into lines that are otherwise sung. Richard Stokes’s translation is lucid but retains the unworldly illogic of the original.
Roderick Williams, Joan Rodgers and Faith Sherman sing well, but this isn’t an opera where character development matters much. Its energies lie in the non-vocal writing, giving Edward Gardner and the ENO Orchestra a chance to luxuriate in lush orchestral texture.
The last scenes, where Clémence curses God, then quite quickly gives in to His will, might afford great opportunities for drama had the libretto engaged seriously with ideas. This is where the staging proved itself completely. As Clémence rages at God, Roderick Williams as the dead Jaufré descends from the roof on a wire, his white shroud trailing to the ground. At his side are the two “spirit Jaufrés” who had been doubling him as he lay “dying”. Is it a reference to Christ flanked by the two thieves at the crucifixion ? Perhaps not, but the idea is just as sacrilegious as Clémence’s curse and vaguely logical in the same sense. But as pure theatre it’s undeniably dramatic. The stage is lit up in colors as gorgeous as the music, while the chorus shine searchlights upwards towards the ceiling. Gradually the number of searchlight beams increase until the whole auditorium is bathed in unearthly white light. Whatever the image may mean, it’s a magnificent statement.
Joan Rodgers as Clémence and the spirits of Jaufré [Photo by Johan Persson courtesy of English National Opera]
In an opera where ideas are so loosely defined, moments like this make all the difference. Finzi Pasca uses the specialist circus skills to extend the range of effects possible on stage. Acrobats dressed in strange headless garb “swim” in the air against a background of silk and colored lights. Huge planes of blue silk zoom onto the platform released on flywires from the upper balconies. Cutout transparencies and panels create illusions of space. Even the costumes act. Sleeves are made with huge silken extensions manipulated by actors, so it seems the singers are surrounded by huge, winged beings. It turns the opera into something truly magical.