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

Il barbiere di Siviglia, Royal Opera

Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.

Gluck and Bertoni at Bampton

Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.

Purcell: A Retrospective

Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.

Mahler: Symphony no.3 — Prom 73

It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’

Los Angeles Opera Opens with La traviata

On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.

Stars of Lyric Opera at Millennium Park, 2014

In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.

Susannah in San Francisco

Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.

Xerxes, ENO

Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.

San Diego Opera Opens 2014-2015 Season

On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.

Otello at ENO

English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.

Anna Nicole, back with a bang!

It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.

Norma in San Francisco

It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).

Joyce DiDonato starts Wigmore Hall new season

There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.

Aida at Aspendos Opera and Ballet Festival

In strict architectural terms, the stupendous 2nd century Roman theatre of Aspendos near Antalya in southern Turkey is not an arena or amphitheatre at all, so there are not nearly as many ghosts of gored gladiators or dismembered Christians to disturb the contemporary feng shui as in other ancient loci of Imperial amusement.

St Matthew Passion, Prom 66

Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.

Glimmerglass: Butterfly Leads the Pack

Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.

Operalia, the World Opera Competition, Showcases 2014 Winners

On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.

Elektra at Prom 59

The second day of the Richard Strauss weekend at the BBC Proms saw Richard Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014 by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine Goerke in the title role.

Powerful Mahler Symphony no 2 Harding, BBC Proms London

Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.

Nina Stemme's stunning Strauss Salome, BBC Proms London

The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings

OPERA TODAY ARCHIVES »

Reviews

John Gay: The Beggar's Opera
04 Oct 2009

John Gay: The Beggar's Opera

The only thing truly operatic in this work is the use of the word “opera” in the title.

John Gay: The Beggar's Opera

Macheath: Roger Daltrey; Peachum: Stratford Johns; Mrs. Peachum: Patricia Routledge; Polly Peachum: Carol Hall; Lucy Lockit: Rosemary Ashe; Beggar: Bob Hoskins; Player: Graham Crowden; Filch: Gary Tibbs; Lockit: Peter Bayliss; Jenny Diver: Isla Blair. The English Baroque Soloists. John Eliot Gardiner, conductor. Jonathan Miller, producer and director.

ArtHaus Musik 102 001 [DVD]

$26.99  Click to buy

As the excellent Burkhard Dersch booklet essay, translated into English by Hugh Keith, states, with The Beggar’s Opera librettist John Gay and composer Johann Christoph Pepusch “created a new type of musical theater…” Indeed, the work came about at least partly, if not wholly, as a satiric response to the then ruling popularity of the elaborate foreign entertainment known as Italian opera, the most famous proponent of which being Georg Frederich Handel. In Gay’s work, quite a hit in its time, the lower class of England takes the stage, speaking in elevated language about the seedy goings-on in their lives, and occasionally breaking out into song, primarily of a simple, folk-based nature. Perhaps the best way to get to know the essence of this work is to turn to the 20th century adaptation by Kurt Weill and Bertolt Brecht, The Threepenny Opera. The tunes are certainly better.

In 1983 the BBC hired Jonathan Miller to film Gay’s work with a strong cast of singing actors, with the exception of the role of Macheath, where Roger Daltrey of The Who proved himself to be a very effective acting singer. Bob Hoskins has a minor role at the work’s opening and closing as he and a “Player” (Graham Crowden) break the fourth wall and discuss the action before and after it takes place. Fans of the sort of British comedies PBS replays for US audiences may recognize Patricia Routledge. All the cast perform with the sort of detailed professionalism one comes to expect from British artists, and they sing well enough, considering the light demands of Pepusch’s music. They have excellent support, at any rate, from The English Baroque Soloists under Sir John Eliot Gardiner’s leadership.

The film has been well preserved, both in visual and audio terms. The appeal, however, will probably be limited to those with a keen interest to what turned out to be a passing fad. The success of The Beggar’s Opera seemed to put an end to Handel’s career, but he bounced back. And The Beggar’s Opera then slipped, or perhaps oozed, into obscurity, while eventually Covent Garden returned to being a first-class presenter of Italian opera.

Miller’s film does well by the work, no doubt, but it’s a long two hours. The song interludes are mostly very brief, and none of the characters has much appeal. For the ears of your reviewer, the high-pitched caterwauling of most of the female cast and the tongue-swallowing mumbles of many of the males became tiresome very quickly. Strangely, although most of the dialogue is produced with clarity, the English subtitles provided differ much of the time, being not just shorter but having divergent vocabulary. That becomes a distraction in itself, so better not to have the subtitles on, even at the risk of losing a phrase or two to inaudibility from time to time.

There’s a reason this once very popular work seldom returns to the stage, even in the UK. Nonetheless, this BBC film makes an excellent testament to its historical importance.

Chris Mullins

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):