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.
This may be the twelfth revival of Jonathan Miller’s 1987 production of Rossini’s The Barber of Seville for English National Opera, but the ready laughter from the auditorium and the fresh musical and dramatic responses from the stage suggest that it will continue to amuse audiences and serve the house well for some time to come.
The third and final instalment of the Academy of Ancient Music’s survey of Monteverdi’s operas at the Barbican began and ended in darkness; the red glow of the single candle was an apt visual frame for a performance which was dedicated to the memory of the late Andrew Porter, the music critic and writer whose learned, pertinent and eloquent words did so much to restore Monteverdi, Cavalli and other neglected music-dramatists to the operatic stage.
English Touring Opera’s recent programming has been ambitious and inventive, and the results have been rewarding. We had two little-known Donizetti operas, The Siege of Calais and The Wild Man of the West Indies, in spring 2015, while autumn 2014 saw the company stage comedy by Haydn (Il mondo della luna) and romantic history by Handel (Ottone).
Sounds swirl with an urgent emotionality and meandering virtuosity on Jonas Kaufmann’s new Puccini album—the “real one”, according to Kaufmann, whose works were also released earlier this year on Decca records, allegedly without his approval.
LA Opera got its season off to an auspicious beginning with starry revivals of Gianni Schicchi and Pagliacci.
On September 9, 2015, Opera Las Vegas presented James Sohre’s production of Viva Verdi at the Smith Center’s Cabaret Jazz. It was a delightful evening of arias, duets and ensembles by Giuseppe Verdi (1813-1901). The program included many of the composer’s blockbuster arias and scenes from famous operas such as Aida, La traviata, and Macbeth.
On Saturday, September 19, San Diego Opera opened its 2015-2016 season with a recital by tenor René Barbera. This was the first Polly Puterbaugh Emerging Artist Award Recital and no artist could have been more deserving than the immensely talented Barbera.
The Wigmore Hall, London, has launched Schubert : The Complete Songs, a 40-concert series to run through the 2015 and 2016 seasons. There have been Schubert marathons before, like BBC Radio 3's all-Schubert week and The Oxford Lieder Festival's Schubert series last year, but the Wigmore Hall series will be a major landmark because the Wigmore Hall is the Wigmore Hall, the epitome of excellence.
Marion Cotillard and Marc Soustrot bring the drama to the sweeping score of Arthur Honegger’s Jeanne d’Arc au bûcher, an adaptation of the Trial of Joan of Arc
Luisa Miller sits on the fringes of the repertory, and since its introduction into the modern repertory in the 1970’s it comes around every 15 or so years. Unfortunately this 2015 San Francisco occasion has not bothered to rethink this remarkable opera.
Demonised by Pushkin and Peter Shaffer, Antonio Salieri lives in the public imagination as the embittered rival of Wolfgang Amadeus Mozart — whose genius he lamented and revered in equal measure, and against whom he schemed and plotted at the Emperor Joseph II’s Viennese court.
The annual concert given by Lyric Opera of Chicago as an outdoor event previewing the forthcoming season took place on 11 September 2015 at Millennium Park.
Stephen Paulus provided the musical world, and particularly the choral world, with music both provocative and pleasing through a combination of lyricism and a modern-Romantic tonal palette.
Orpheus — that Greek hero whose songs could enchant both deities and beasts, whose lyre has become a metaphor for the power of music itself, and whose journey to the Underworld to rescue his wife, Eurydice, kick-started the art of opera in Mantua in 1607 — has been travelling far and wide around the UK in 2015.
One is a quasi-verbatim rendering of J.M. Synge’s bleak tale of a Donegal family’s fateful dependency on and submission to the deathly power of the sea.
Is there anything that countertenor Iestyn Davies cannot do with his voice?
BBC Proms Youth Choir shines in a performance notable for its magical transparency
The John Wilson Orchestra have been annual summer visitors to the Royal Albert Hall since their Proms debut in 2009 and, with their seductive blend of technical precision, buoyant glitziness and relaxed insouciance, their concerts have become a hugely anticipated fixture and a sure highlight of the Promenade season.
Disappointing staging mars Alice Coote’s vibrant if wayward musical performance
Impresario Boris Goldovsky famously referred to La finta giardiniera as The Phony Farmerette.
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.