29 Oct 2009
Ned Rorem premiere at Oxford Lieder Festival
Ned Rorem's Evidence of Things Not Seen received its European premiere at the Oxford Lieder Festival.
On Thursday evening October 13, Los Angeles Opera transmitted Giuseppe Verdi’s Macbeth live from the Dorothy Chandler Pavilion, in the center of the city, to a pier in Santa Monica and to South Gate Park in Southeastern Los Angeles County. My companion and I saw the opera in High Definition on a twenty-five foot high screen at the park.
“Hi! I’m at the Wigmore Hall!” American mezzo-soprano Jamie Barton’s exuberant excitement at finding herself performing in the world’s premier lieder venue was delightful and infectious. With accompanist James Baillieu, Barton presented what she termed a “love-fest” of some of the duo’s favourite art songs. The programme - Turina, Brahms, Dvořák, Ives, Sibelius - was also surely designed to show-case Barton’s sumptuous and balmy tone, stamina, range and sheer charisma; that is, the qualities which won her the First and Song Prizes at the 2013 BBC Cardiff Singer of the World Competition.
“If I lacked ears, it would be bad, but still more bearable; but lacking a nose, a man is devil knows what: not a bird, not a citizen—just take and chuck him out the window!”
A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
Francesco Cavalli’s La Calisto was the composer’s ﬁfteenth opera, and the ninth to a libretto by Giovanni Faustini (1615-1651). First performed at the Teatro Sant’Apollinaire in Venice on 28th November 1651, the opera by might have been sub-titled ‘Gods Behaving Badly’, so debauched are the deities’ dalliances and deviations, so egotistical their deceptions.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure, this new production presents the plot as the dying protagonist’s feverish hallucinations. The result is a frosty retelling of what is arguably Puccini’s most hot-blooded opera. Musically, the performance also left much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang bergetar akan terhapus.” (“The transient cannot hold on to stars lost in the Milky Way; that which quivers will be erased.”) As soprano Tony Arnold sang these words of Tony Prabowo’s chamber opera Pastoral, with astonishingly crisp Indonesian diction, the first night of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
New from Oehms Classics, Walter Braunfels Orchestral Songs Vol 1. Luxury singers - Valentina Farcas, Klaus Florian Vogt and Michael Volle, with the Staatskapelle Weimar, conducted by Hansjörg Albrecht.
Manitoba Underground Opera took audiences on a journey — literally and figuratively — as it presented its latest installment of repertory opera between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
Ned Rorem's Evidence of Things Not Seen received its European premiere at the Oxford Lieder Festival.
It’s strange that Rorem is relatively unknown outside the US, because there have been so many excellent recordings. There’s no excuse, Perhaps though this Oxford performance, by the Princes Consort, will put things right.
Evidence of Things Not Seen is a collection of 36 songs that flow together to form a whole greater than its parts. The first group of songs are optimistic, open ended. Rorem calls them “Beginnings”. “From whence cometh song?” is the very first line. The same questioning reappears throughout the cycle, expressed in Rorem’s characteristic rising and falling cadences.
“Middles” (the middle section) explores ideas more deeply, rather like development in symphonic form. There are some very strong songs here, such as ..I saw a mass, from John Woolman’s Journal. Woolman was a Quaker, and Quaker values infuse the whole 80 minute sequence. Indeed, the the title Evidence of Things Not Seen comes from William Penn. Rorem’s cadences are light quiet breathing, the way Quakers think things through in silent contemplation. Two songs to poems by Stephen Crane, The Candid Man and A Learned Man, provide counterpoint. The candid man blusters, using violence to impose his will.
Rorem chooses his texts carefully. Middles ends with a song to an 18th century hymn text by Thomas Ken which leads into Julien Green’s He thinks upon his Death. W H Auden jostles with Robert Frost, Colette with A E Housman. Mark Doty and Paul Monette write poems referring to AIDS. Jane Kenyon’s The Sick Wife poignantly describes a woman lost , still young, to some illness that keep her alive but barely sensate. In its own simple, direct way it connects to the final song, in which Penn reflects on the Bible. “For Death is no more than the Turning of us over from Time to Eternity”. Whatever the Evidence of Things Not Seen may be, following the journey in a performance as good as this is a moving experience.
The Oxford Lieder Festival often introduces performers and repertoire before they become mainstream. That’s why, for a small festival, it’s cutting edge, and one of the best ways to keep a finger on the pulse of what’s happening in song.
The Prince Consort
The Prince Consort are something of an Oxford Lieder discovery, although they have also appeared at the Wigmore Hall. This is a lively, flexible ensemble which brings together some of the most exciting young singers around. Many are already quite high profile — some have been heard at the Royal Opera House, Glyndebourne and Salzburg. They were represented tonight by the founder, the pianist Alisdair Hogarth, and the singers Anna Leese, Jennifer Johnston, Nicholas Mulroy and Jacques Imbrailo (a former Jette Parker artist).
Their fresh, vivacious approach suits Rorem’s music well. The Prince Consort have just released a recording of Rorem’s On an Echoing Road. on the audiophile label Linn. It’s good. That cycle includes many songs showing the influence of English composers like Ralph Vaughn Williams and Roger Quilter, so it’s a good choice for the English market. The audience at Oxford was sparse, perhaps because those who don’t know Rorem assume that if he’s modern and American they might not like him. But Rorem is steeped in the European tradition and was associated with poets like W H Auden. Perhaps now England will be aware how Rorem has rejuvenated the genre of English song.
[Note: The recording Ned Rorem - On an echoing road by Prince Consort is available for download here.]