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Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.
A historical afternoon at the NTR Saturday Matinee occurred with an epic
concert version of Prokofiev’s Soviet Opera Semyon Kotko.
Opening night at the Metropolitan is a gleeful occasion even when the
composer is long gone, but December 1st was an opening for a living composer who
has been making waves around the world and is, gasp, a woman — the second woman
composer ever to have an opera presented at the Met.
The Feast at Solhaug : Henrik Ibsen's play Gildet paa Solhaug (1856) inspired Wilhelm Stenhammer's opera Gillet på Solhaug. The world premiere recording is now available via Sterling CD, in a 3 disc set which includes full libretto and background history.
For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.
As the German language describes so beautifully, a “Schrei aus
tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra
from the depths of her soul.
Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.
Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.
On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.
Here is one of the next new great conductors. That’s a bold statement,
but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment
“is the biggest news in the conducting world.” But Ms. Mirga
Gražinytė-Tyla will be getting a lot of weight on her shoulders.
Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.
Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.
On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.
Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.
You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.
If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.
Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.
Honours yet again to Oehms Classics who understand the importance of excellence. A composer as good, and as individual, as Walter Braunfels deserves nothing less.
I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.
For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.
20 Sep 2009
Humour and horror — Ligeti's Le Grand Macabre at the ENO, London
A massive female figure fills the whole stage at the ENO for Ligeti's Le Grand Macabre, in this amazing production from La Fura del Bas. (Alex Ollé). This production is so inherently dramatic that it brings Ligeti's "anti-opera" onto a new level as theatre.art. .
The giant woman is a miracle of motors and pulleys, engineering transfigured as art. She’s obviously not alive, but she moves, following the action. She takes on whatever is projected onto her, changing with light from woman to man, aging, decaying, turning into a skull. She’s solid enough to support actors crawling over her yet seems to disappear into starlight or clouds when the lighting’s right. Her body opens to reveal secret caverns. She’s so wonderful, you’re mesmerized.
“A dress rehearsal for the end of the world” wrote Michel de Ghelderode whose original play inspired Ligeti’s “anti-opera”. Le Grand Macabre is an apocalyptic vision after Heironymous Bosch, Theatre of the Absurd at its most picaresque. Nothing is supposed to make sense, all logic overturned. So lovers Amando and Amanda (Frances Bourne and Rebecca Bottone, both women) wear their muscles outside their skin. Nekrotzar, note the nameplay, (Pavlo Hunka) is the all powerful figure of Death, who rides a plastic bubble horse while wielding a scythe.
Rebecca Bottone (Amanda) and Frances Bourne (Amando)
There’s lots of action, for this is Breughelland, teeming with busy figures. Venus (Susanna Andersson) slides down from the ceiling, and later appears as singing stormtrooper. Lots of deliberately unerotic sexual shennanigans - Astramodars (Frode Olsen) and his wife Mescalina (Susan Bickley), she of the conical size ZZ bra cups. The Black Minister (Simon Butteries) and The White Minister (Daniel Norman) exchange playground obscenities in alphabetical order. Piet the Pot ((Wolfgang Ablinger-Sperrhacke) is a down to earth drunk. Prince Go-Go (Andrew Watts, the countertenor) portrays a sad Elvis impersonator, his naivety no match for the evil plotters around him. There’s even a recreation of Michael Jackson’s *Thriller *dance routine to keep the chorus and actors on their toes.
It’s wildly madcap, lots of fun if taken on its own terms. Judging by the laughter most of this audience got the right mood. But the difficulty with Le Grand Macabre, is that it’s not easy to marry humour with horror. Some of Ligeti’s jokes are pretty asinine anyway, without the saving grace of shock, but there’s a lot more darkness and despair in his music than this production dwells on. On the other hand, human nature being what it is chooses levity over grim surreality .
In the Second Act, where Ligeti writes longer musical passages without narrative, Baldur Brönimann got reasonably idiomatic playing from the orchestra. Nonetheless this isn’t Ligeti at his most subtle, and most of the audience were there for the show not the music. Since this production had so much going for it that its sheer inventive energy was compensation for the relative lack of musical bite. Nothing to scare away Those Who Fear New Music. This production was so impressive that it will stick in the memory . For once, it will be good to listen to a recording (ideally Salonen) allowing La Fura del Bas’s incredible images come to life again in your imagination. You can hear the music again, but you’ll never see another production quite like this !
Andrew Watts (Prince Go-Go), Wolfgang Ablinger - Sperrhacke (Piet the Pot), Pavlo Hunka (Nekrotzar) and Frode Olsen (Astradamors)
Yet ultimately, Le Grand Macabre isn’t all that macabre. Death is overturned. Prince Go-Go is arrested because he isn’t dead. Piet, Astromodars and Mescalina, return to life and carry on as before. Nekrotzar is defeated and doesn’t come back. Instead he’s replaced by a shrunken puppet, inside the giant woman’s stomach. Then the giant’s features bloom again, colour returning to her cheeks, and she smiles. She’s remarkably realistic now, so it’s quite frightening seeing her eyeball to eyeball if you’re sitting upstairs. The giant woman’s face came from a film at the very beginning, where a sad, lonely woman seemed to be dying of a heart attack. She doesn’t die, but such a shambles of an existence is hardly life. It was uncomfortable seeing her “dead” body subject to indignities, but seeing the real actress who plays her in the film taking applause later wasn’t reassuring. Which is perhaps the point - we can’t assume everything’s back to normal, whatever normal “is”.
Ligeti’s Le Grand Macabre runs at the ENO until October 9th.