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

Daniel Michieletto's Cav and Pag returns to Covent Garden

It felt rather decadent to be sitting in an opera house at 12pm. Even more so given the passion-fuelled excesses of Pietro Mascagni’s Cavalleria Rusticana and Ruggero Leoncavallo’s Pagliacci, which might seem rather too sensual and savage for mid-day consumption.

Manitoba Opera: Madama Butterfly

Manitoba Opera opened its 45th season with Puccini’s Madama Butterfly proving that the aching heart as expressed through art knows no racial or cultural divide, with the Italian composer’s self-avowed favourite opera still able to spread its poetic wings across time and space since its Milan premiere in 1904.

Ian Bostridge and Julius Drake celebrate 25 years of music-making

In 1992, concert promoter Heinz Liebrecht introduced pianist Julius Drake to tenor Ian Bostridge and an acclaimed, inspiring musical partnership was born. On Wenlock Edge formed part of their first programme, at Holkham Hall in Norfolk; and, so, in this recital at Middle Temple Hall, celebrating their 25 years of music-making, the duo included Vaughan Williams’ Housman settings for tenor, piano and string quartet alongside works with a seventeenth-century origin or flavour.

Girls of the Golden West in San Francisco

Not many (maybe any) of the new operas presented by San Francisco Opera over the past 10 years would lure me to the War Memorial Opera House a second time around. But for Girls of the Golden West just now I would be there again tomorrow night and the next, and I am eagerly awaiting all future productions.

DiDonato is superb in Semiramide at Covent Garden

It’s taken a while for Rossini’s Semiramide to reach the Covent Garden stage. The last of the operas which Rossini composed for Italian theatres between 1810-1823, Semiramide has had only one outing at the Royal Opera House since 1887, and that was a concert version in 1986.

Hans Werner Henze Choral Music

Hans Werner Henze works for mixed voice and chamber orchestra with SWR Vokalensemble and Ensemble Modern, conducted by Marcus Creed. Welcome new recordings of important pieces like Lieder von einer Insel (1964), Orpheus Behind the Wire (1984) plus Fünf Madrigale (1947).

Philippe Jaroussky and Ensemble Artaserse at the Wigmore Hall

‘His master’s masterpiece, the work of heaven’: ‘a common fountain’ from which flow ‘pure silver drops’. At the risk of effulgent hyperbole, I’d suggest that Antonio’s image of the blessed governance and purifying power of the French court - in the opening scene of Webster’s The Duchess of Malfi - is also a perfect metaphor for the voice of French countertenor Philippe Jaroussky, as it slips through Handel’s roulades like a silken ribbon.

La Rondine Takes Flight in San Jose

Kudos to San Jose Opera for offering up a wholly winning, consistently captivating new production of Puccini’s seldom performed La Rondine.

Bettina Smith, Norwegian Mezzo, in Songs by Fauré and Debussy

Here are five complete song sets by two of the greatest masters of French song. The performers are highly competent. I should have known, given the rave reviews that their 2015 recording of modern Norwegian songs received.

Clonter Opera Gala

Clonter’s Opera Gala in the breath-taking beautiful ball-room at the Lansdowne Club in Mayfair was a glamorously glittering smattering of opera – which made me want to run out to every opera in town.  

Étienne-Nicolas Méhul: Uthal

The opera world barely knows how to handle works that have significant amounts of spoken dialogue. Conductors and stage directors will often trim the dialogue to a bare minimum (Magic Flute), have it rendered as sung recitative (Carmen), or have it spoken in the vernacular though the sung numbers may often be performed in the original language (Die Fledermaus).

A New Anna Moffo?: The Debut Disc of Aida Garifullina

Here is the latest CD from a major label promoting a major new soprano. Aida Garifullina is utterly remarkable: a lyric soprano who also can handle coloratura with ease. Her tone has a constant shimmer, with a touch of quick, narrow vibrato even on short notes.

A New Die Walküre at Lyric Opera of Chicago

From the start of Lyric Opera of Chicago’s splendid, new production of Richard Wagner’s Die Walküre conflict and resolution are portrayed throughout with moving intensity. The central character Brünnhilde is sung by Christine Goerke and her father Wotan by Eric Owens.

As One a Haunting Success in San Diego

San Diego Opera has mined solid gold with its mesmerizing and affecting production of As One, a part of their innovative ‘Detour Series.’

OLF: Songs by Tchaikovsky, Anton Rubinstein, Rachmaninov and Georgy Sviridov

Compared to the oft-explored world of German lieder and French chansons, the songs of Russia are unfairly neglected in recordings and in the concert hall. The raw emotion and expansive lyricism present in much of this repertoire was clearly in evidence at the Holywell Music Room for the penultimate day of the celebrated Oxford Lieder Festival.

Stockhausen’s STIMMUNG and COSMIC PULSES at the Barbican.

This concert was an event on several levels - marking a decade since the death of Stockhausen, the fortieth anniversary (almost to the day) since Singcircle first performed STIMMUNG (at the Round House), and their final public performance of the piece. It was also a rare opportunity to hear (and see) Stockhausen’s last completed purely electronic work, COSMIC PULSES - an overwhelming visual and aural experience that anyone who was at this concert will long remember.

Bampton Classical Opera Young Singers’ Competition 2017 - Winner Announced

Bampton Classical Opera is pleased to announce that the winner of the 2017 Young Singers’ Competition is mezzo-soprano Emma Stannard and the runner-up is tenor Wagner Moreira. The winner of the accompanists’ prize, a new category this year, is Keval Shah.

Il sogno di Scipione: a new recording from Classical Opera

With this recording of Mozart’s 1771 opera, Il sogno di Scipione (Sicpio’s Dream), Classical Opera continue their progress through the adolescent composer’s precocious achievements and take another step towards the fulfilment of their complete Mozart opera series for Signum Classics.

TOSCA: A Dramatic Sing-Fest

On November 12, 2017, Arizona Opera presented Giacomo Puccini’s verismo opera, Tosca, in a dramatic production directed by Tara Faircloth. Her production utilized realistic scenery from Seattle Opera and detailed costumes from the New York City Opera. Gregory Allen Hirsch’s lighting made the set look like the church of St. Andrea as some of us may have remembered it from time gone by.

The Lighthouse: Shadwell Opera at Hackney Showroom

‘Only make the reader’s general vision of evil intense enough … and his own experience, his own imagination, his own sympathy … and horror … will supply him quite sufficiently with all the particulars. Make him think the evil, make him think it for himself, and you are released from weak specifications.’

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):