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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.
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.
15 Nov 2009
Die Rheinnixen by New Sussex Opera
London has long been spoiled in the operatic rarity department, thanks to companies like Opera Rara, Chelsea Opera Group and University College Opera populating various areas of the Venn diagram that is obscure repertoire.
so, there remain gaps that even these pioneers fail to reach — at which
point, enter New Sussex Opera, in the first of what I hope will be a regular
series of visits to the capital.
It is not widely known that Offenbach ever ventured into German grand opera,
though a recording of Die Rheinnixen finally became available in 2005
thanks to the Orchestre de Montpelier (the disc was reviewed on this site).
Though Rhine Fairies are most familiar in operatic terms because of Wagner, an
audience at Offenbach’s opera would be forgiven for not realising there
was any common ground. Offenbach’s Rhine Fairies are a hybrid of a number
of different myths, from the Lorelei of popular legend to the jilted
maiden-spirits of Giselle.
The English rendition of the libretto has its clumsy moments, and although
some (such as switching between ‘thee’ and ‘you’ for
the sake of a rhyme) can be put down to the translator, tenor Neil Jenkins, the
majority of the unintentional humour is pretty inevitable. Cynics might say
that singing in a foreign language covers a multitude of sins — and this
is one of those operas where performance in translation serves to remove the
only layer of disguise from the sheer ludicrousness of the plot. We have an
amnesiac hero (thanks to a war-wound) who is shocked into recovering his senses
on the spot, long-lost family relationships being revealed at every turn, and
supernatural forces which overshadow the lives of the central characters. At
the centre of it all is a saintly heroine so fragile that singing too
strenuously almost kills her — an archetype which Offenbach took one step
further in Hoffmann (and another metaphor for the dangerous power of female
sexuality). That’s not the only thing which almost happens — a
devastating Wagnerian ending is narrowly averted when, as the principal
characters prepare to evade enemy capture by blowing up a strategically-placed
ammunition dump with themselves in it, the Rhine Fairies lure the baddies over
a precipice to their death and the goodies all breathe a sigh of relief and
live happily ever after. The opera predates Götterdämmerung by more than a
decade, but it’s difficult not to make the comparison.
A more than decent cast was assembled for the occasion: as the heroine,
Armgard, Kate Valentine struck the balance of youth and maturity with a capable
and sweet-edged lyric soprano and a firm and centred stage presence. As Franz,
David Curry, made an ardent lover, though was occasionally a little pallid and
strained in the top register, with a tendency to oversing. The more memorable
performances were in the older roles, with Anne-Marie Owens supplying a
dramatic centre in the pivotal role of Hedwig, Armgard’s mother whose
past youthful exploits with the now enemy, Conrad von Wenckheim, bring about
almost all of the plot’s developments. Quentin Hayes was a strong and
masculine Conrad, and Daniel Grice was sympathetic in the role of Gottfried
(here, in translation, Godfrey) — the true friend who never quite manages
to get the girl.
The chorus sang idiomatically, and the smaller roles were taken more than
ably by members of the amateur company. Conductor Nicholas Jenkins drew a clean
and poised performance from the orchestra, and the score has plenty to
recommend it. Offenbach inventively evokes a Germanic sound-world —
Franz’s ethereal entrance-aria almost seems to prefigure the way Mahler
used some of the Des Knaben Wunderhorn tunes in his early symphonies.
The imagination in the rest of the score should not be underestimated, and
would no doubt be easier to appreciate if Hoffmann had not remained so
firmly in the repertoire while Die Rheinnixen was as good as lost for
over a century. The composer reused so much of Rheinnixen in his later
work that listening to it can be quite disorientating. It takes an open mind to
think of the ‘Barcarolle’, and its introduction, were originally
intended to depict not the hypnotic stasis of Venetian canals but the waters of
a river which — thanks again to Wagner — most opera-lovers have
come to associate with primeval E flat chords. The Rhine-Fairies themselves
have the most obvious leitmotiv of the piece, a rising and falling
chromatic triplet figure, first introduced in Armgard’s Act 1 aria.
New Sussex Opera has expressed a hope that some of its future productions
— which, if an audience questionnaire included in the programme is
anything to go by, might include Wagner’s Die Feen,
Chabrier’s L’etoile and Gounod’s Mireille
— might bring the company back to London. On this evidence, let’s
Ruth Elleson © 2009