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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.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value
a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
26 Oct 2009
Pascal Dusapin: Faustus, the Last Night
Pascal Dusapin (b. 1955) is an engaging composer, and his recent works includes a chamber opera entitled Faustus, the Last Night, a unique setting of the legend and a fine contribution to modern opera.
This version of Faust
differs from others, since it eschews the traditional narrative which starts
with Faust signing a pact with the devil, moves to the sometimes picaresque
adventures of the ensorcelled Faust, and ends with the devil claiming his soul.
Instead of retelling the story, Dusapin assembled the English-language libretto
from various sources to create a text focused on the trials and temptations of
Faust during the minutes before his fateful contract with the devil is due. In
a sense Dusapin takes his cue from Marlowe’s climactic soliloquy from
the end of his Tragical History of Doctor Faustus:
Now hast thou but one bare hour to live,
And then though must be damned perpetually,
Stand still, you ever-moving spheres of heaven,That time may cease ad midnight
O lente, lente currite noctis equi!
The stars move still; time runs; the clock will strike;
The devil will come, and Faustus must be damned. . . .
(Act 5, lines 57-61; 66-68)
In creating this work, Faust is not necessarily a character worth saving,
with the inanity of his diabolic pact made painfully clear, and Mephistopheles
characterized with the dimensionality which makes him more than a minion of
Satan, but approaching the persona of Lucifer in challenging the nature of
mortal existence. The conversational tone of Faustus, the Last Night may be
traced to the kind of opera Strauss created in Capriccio, in the medium
foregoes the depiction of physical action to result instead in a shift of
thought and concept. (The concept is also used in Henri Pousseu’s
Votre Faust (1969), which revolves around a discussion about the prospect of
an opera on the subject of Faust.) The conversational aspect of
Dusapin’s Faustusalso echoes some elements of early opera, which
resulted in various settings of familiar myth. Akin to those early
seventeenth-century works, music in Faustus serves as a means to an end, a way
for Dusapin to convey the verbal ideas effectively. At times, too, the score
functions as a kind of soundtrack in order to allow the work to shift between
scenes smoothly and offer cues to mood and tone.
The performers as a whole conveyed the work effectively. The
English-language text emerges clearly, and while listeners should not have a
problem with the enunciation, subtitles are possible in the original language,
as well as French and German. Since the libretto is not published with the DVD,
those interested in exploring the text further may use the subtitles as a point
of departure (future DVDs like this would benefit from the inclusion of the
full text in the digital medium, as a matter of convenience for the user). As
Mephistopheles, Urban Malmberg personifies the role. His command of the part is
remarkable and serves as a foil for the doomed Faustus, as depicted by Georg
Nigl. At times Malmberg and Nigl overlap their lines, as found in the score,
and this underscores the blurring of their characters in this work. In
Dusapin’s Faustus, Mephistopheles can be as absorbed in thought as
Faust. In lieu of a stage devil who simply represents the diabolical forces,
Mephistopheles offers some comments which can be as intriguing as the ones
Dusapin puts into Faust’s mouth.
This resembles the interchangeability which occurs in modern productions of
Don Giovanni in the singers who portray the title character and his servant
Leporello sometimes switch their roles between performances. In this sense,
Malberg and Nigl work well together in this work to create a good dynamic, and
the other principals respond well to it. The angel is one of the more engaging
of Dusapin’s characters, and Caroline Stein gave the role the level
of definition to counterbalance Mephistopheles. The other two characters,
Robert Wörle as Sly (derived from the character in the prologue to
Shakespeare’s Taming of the Shrew) and Jaco Huijpen as Togod offer
various perspectives on the dilemma in which Faust finds himself. Throughout
the performance the conductor Jonathan Stockhammer allows the orchestra to
support the singers deftly. His tempos reflect his sensitivity to the text,
which emerges clearly in an engaging reading of the score for this new version
of the Faust legend.
James L. Zychowicz