Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

La Traviata in Ljubljana Slovenia

Small country, small opera house — big ensemble spirit. Internationally acclaimed soprano Natalia Ushakova steps in for indisposed local Violetta with mixed results.

Otello in Bucharest — Moor’s the pity

Bulgarian director Vera Nemirova’s production of Otello for the Romanian National Opera in Bucharest was certainly full of new ideas — unfortunately all bad.

Il trovatore at Lyric Opera of Chicago

For its current revival of the 2006-2007 production of Giuseppe Verdi’s Il trovatore by Sir David McVicar Lyric Opera has assembled a talented quintet of principal singers whose strengths match this conception of the opera.

Schubert’s Winterreise by Matthias Goerne

This Winterreise is the final instalment of Matthias Goerne’s series of Schubert lieder for Harmonia Mundi and it brings the Matthias Goerne Schubert Edition, begun in 2008, to a dark, harrowing close.

Mary, Queen of Heaven, Wigmore Hall

O Maria Deo grata — ‘O Mary, pleasing to God’: so begins Robert Fayrfax’s antiphon, one of several supplications to the Virgin Mary presented in this thought-provoking concert by The Cardinall’s Musick at the Wigmore Hall.

Analyzed not demonized — Tristan und Isolde, Royal Opera House

Wagner’s Tristan und Isolde at the Royal Opera House, first revival of the 2009 production, one of the first to attract widespread hostility even before the curtain rose on the first night.

Florencia in el Amazonas Makes Triumphant Return to LA

On November 22, 2014, Los Angeles Opera staged Francesca Zambello’s updated version of Florencia in el Amazonas.

John Adams: The Gospel According to the Other Mary

John Adams and his long-standing collaborator Peter Sellars have described The Gospel According to the Other Mary as a ‘Passion oratorio’.

A new Yevgeny Onegin in Zagreb — Prince Gremin’s Fabulous Pool Party

Superb conducting from veteran Croatian maestro Nikša Bareza makes up for an absurd waterlogged new production of Tchaikovsky’s masterpiece.

Nabucco in Novi Sad

After the horrors of Jagoš Marković’s production of Le Nozze di Figaro in Belgrade, I was apprehensive lest Nabucco in Serbia’s second city of Novi Sad on 27th October would be transplanted from 6th century BC Babylon to post-Saddam Hussein Tikrit or some bombed-out kibbutz in Beersheba.

La Bohème in San Francisco

First Toronto, then Houston and now San Francisco, the third stop of a new production of Puccini's La bohème by Canadian born, British nurtured theater director John Caird.

Radvanovsky Sings Recital in Los Angeles

Every once in a while Los Angeles Opera presents an important recital in the three thousand seat Dorothy Chandler Pavilion.

L’elisir d’amore, Royal Opera

This third revival of Laurent Pelly’s production of Donizetti’s L’elisir d’amore needed a bit of a pep up to get moving but once it had been given a shot of ‘medicinal’ tincture things spiced up nicely.

Samling Showcase, Wigmore Hall

Founded in 1996, Samling describes itself as a charity which ‘inspires musical excellence in young people’.

La cenerentola in San Francisco

The good news is that you don’t have to go all the way to Pesaro for great Rossini.

Rameau: Maître à danser — William Christie, Barbican London

Maître à danser: William Christie and Les Arts Florissants at the Barbican, London, presented a defining moment in Rameau performance practice, choreographed with a team of dancers.

Le Nozze di Figaro — or Sex on the Beach?

The most memorable thing (and definitely not in a good way) about this performance of Le Nozze di Figaro at the Serbian National Theatre in Belgrade was the self-serving, infantile, offensive and just plain wrong production by celebrated Serbian theatre director Jagoš Marković.

The Met mounts a well sung but dramatically unconvincing ‘Carmen’

Should looks matter when casting the role of the iconic temptress for HD simulcast?

Maurice Greene’s Jephtha

Maurice Greene (1696-1755) had a highly successful musical career. Organist of St. Paul’s Cathedral, a position to which he was elected when he was just 22 years-old, he later became organist of the Chapel Royal, Professor of Music at the University of Cambridge and, from 1735, Master of the King’s Music.

Tosca in San Francisco

Yet another Tosca is hardly exciting news, if news at all. The current five performances have come just two years after SFO alternated divas Angela Gheorghiu and Patricia Racette in the title role.

OPERA TODAY ARCHIVES »

Reviews

Ludwig van Beethoven
30 Aug 2009

Fidelio at the Proms

Fidelio is not just any opera. But then, Beethoven is not just any composer. His only opera — unless one counts Leonore as a work in itself — confounds bureaucratic expectations.

Ludwig van Beethoven: Fidelio

Leonore: Waltraud Meier; Florestan: Simon O”Neill; Don Pizarro: Gred Grochowski; Rocco: Sir John Tomlinson; Marzelline: Adriana Kučerová; Jacquino: Stephan Rügamer; Don Fernando: Viktor Rud; First Prisoner: Andrew Murgatroyd; Second Prisoner: Edward Price; BBC Singers, Geoffrey Mitchell Choir (chorus master: Tim Murray). West-Eastern Divan Orchestra, Daniel Barenboim (conductor), concert performance at the BBC Proms, Royal Albert Hall, London, 22 August 2009.

 

The unimaginative and the plain uncomprehending are led to decry it and sometimes, quite staggeringly, to account it a dramatic failure. Even Wagner, who should have known better, could be dismissive, for instance telling Cosima that a German theatre would be better off opening with Weber’s Euryanthe — admittedly, a wonderful work, but certainly a problematical one — “rather than with Fidelio, which is much more conventional and cold.” Conventional? Hardly, given the boldness of substituting for the operatic expectations of conventional “characterisation” the instantiation of an unutterably noble idea, “freedom”, itself liberated from the confines of bourgeois expectations. Wagner either could not see, or did not want to see — the latter, I suspect, more likely — that the “rescue opera” was here both transcended and granted its enduring memorial. Cold? This work veritably blazes with heat, and it certainly did on this occasion, “occasion” being truly the operative word. Still worse, we read Cosima a few years later record, again contrasting the work with Richard’s beloved Euryanthe: “Then we start discussing Fidelio, which R. describes as unworthy of the composer of the symphonies, in spite of splendid individual passages.” Suffice it to say, however, that there were here many “splendid individual passages,” yet Fidelio was found not only to be worthy of the composer, but to speak directly of and to that all-too-real modern-day catastrophe to which the very existence of the West-Eastern Divan Orchestra bears witness.

So much for what one might call the meta-performance, but what of the performance itself? Daniel Barenboim has rightly chided those who speak only of the context to this orchestra and not of its musical accomplishments. One cannot and should not forget the former, but the greatness of the enterprise shows in the extraordinary artistic results; disentangling the two is a fool’s game, and never more so than in a work such as this. I am delighted therefore to report that the expectations built up from the previous night’s two Proms (see here and here) were more than fulfilled. Indeed, the orchestral playing had a greater edge than it had during the first half of the first of those concerts. The strings once again demonstrated a depth that would be the envy of many a professional orchestra — at least it would, were the absurd authenticist fashion not to decry such tone. Occasionally the woodwind might have proved fallible, but so what? One does not expect Klemperer’s Philharmonia, astonishing in a different way. This work is about humanity, warts and all: just, in fact, what Beethoven is about. There were in any case ample compensations in the Harmoniemusik blend. The timpanist, a star from the previous night, once again shone brightly. The brass was often magnificent, nowhere more so than in those treacherous horn parts in Leonore’s first-act aria. They were not outshone by Waltraud Meier, which is saying something. And then, of course, there was that trumpet call. The thoughts and associations that rushed through one’s mind at that point were myriad, but I can certainly report that it brought tears to my eyes.

Barenboim’s direction was vigorous, unfailingly engaged, attentive to singers and orchestra, without ever letting concerns for the possible detract from the necessity of the utopian. Some of the overture — unwisely, I thought, Leonore III — was impetuous rather than climactic in a Furtwänglerian sense. (The performance these musicians gave of the overture “as itself” in Salzburg two years ago was manifestly superior.) But his remained a signal achievement, not least in terms of orchestral training, discipline, and of course inspiration. The other cavil I should register is with the version of the score employed. Messing about with Fidelio seems to be all the rage at the moment. The Paris Opéra recently commissioned new dialogue and re-ordered the opening sequence, beginning moreover with Leonore I. Barenboim did something similar, in eschewing almost all of the dialogue — is it really that bad? — and putting Marzelline’s aria before her duet with Jaquino (without, moreover, the tonal justification for this put forward by Sylvain Cambreling in Paris). But then, I realise that I was speaking above about confounding of expectations, so perhaps I am just lacking in imagination myself. There was, in any case, a reason for replacement of the dialogue, since it was replaced by Edward Said’s English narration for Leonore. On this of all occasions, to do so was quite understandable and it certainly provides a genuinely interesting and in some respects disquieting perspective upon the work. Hearing Leonore recount what had taken place from a chronological distance, and with clear implications that her hopes had since been dashed or at least significantly tempered, warns us against any move towards easy non-solutions. Don Fernando could never have put everything right.

Waltraud Meier, mostly recorded but also partly live, presented the narration vividly, in delightfully accented English. However, it was her vocal-dramatic performance that stole the show. She is of course a true stage animal; this shone through in her facial expressions, her gestures, as well as her voice. Yet, even though this was a concert performance, her performance was certainly not out of place. She actually brought us into the most important theatre of all, that of the imagination. And her account of “Abscheulicher! ... Komm, Hoffnung” was simply spellbinding. Simon O”Neill was an excellent Florestan. He could not efface memories of Jonas Kaufmann in that Paris performance last December, but to have hoped for that would have been entirely unreasonable. O”Neill proved himself fully capable of the testing demands of this cruel role and even brought the odd hint, if only a hint, of Jon Vickers to his timbre and projection. Gerd Grochowski was a late replacement for Peter Mattei as Pizarro. I have recently heard him both in Berlin and London as Telramund, and this performance was rather similar, evincing commendable attention to musical and verbal text, but remaining underpowered. This was undoubtedly exacerbated by the presence of Sir John Tomlinson as Wotan, sorry, Rocco. Tomlinson’s voice might be showing its age on occasion, but this is as nothing compared to the dramatic truth and commitment he shows. It was, however, somewhat unfortunate that Rocco should from the outset be so much more powerful a presence than Pizarro. Evil might or might not be banal, but we need to believe in the very real power this wicked man wields. The other parts were decently taken, Adriana Kučerová showing to good effect a beautiful voice, of which I should be more than happy to hear more. And it would be unforgivable not to mention the truly outstanding singing from the combined forces of the BBC Singers and the Geoffrey Mitchell Choir. Every note, every word, was audible, but just as immediate was the dramatic effect, whether of imprisonment, of hope, or of jubilation. The legendary Wilhelm Pitz’s Philharmonia Chorus for Klemperer is the gold standard here, but these musicians, if not so great in number — or at least that is how it sounds — have little to fear from such a comparison.

Wagner was doubtless right to prefer the Ninth Symphony for the laying of the foundation stone at Bayreuth. Yet the Ring, the sometime artwork of the future, is not the only nineteenth-century work that speaks immediately to our present condition. Fidelio does too (which is not, of course, to say that many other works do not). And so, still more so, does a performance of Fidelio such as this. Barenboim seems to me both right and wrong to say that when this orchestra comes together, politics disappear, since everyone must concentrate exclusively upon the music. For that coming together in the service of something far greater is unavoidably political. It shames those who create division and worse; it holds up an alternative. Such, after all, was the original intention of Barenboim and Said. To the orchestra, mere congratulations upon a tenth anniversary few, least of all its founders, could ever have anticipated, seem pitifully inadequate. And to Blair, Bush, Olmert, Ahmedinejad, Mugabe, Putin, et al., one wants, indeed needs, to say once again, with Horace, “Mutato nomine, de te fabula narratur” (“Change but the name, and the tale is told of you”). Even if we cannot quite bring ourselves to believe that present-day tyrants and war criminals will be brought to justice, we must hope — and hope that at least some of their victims will be rescued. Beethoven and these inspirational young musicians help us do that. “Komm, Hoffnung...”

Mark Berry

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):