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An exceptional Wagner Der fliegende Holländer, so challenging that, at first, it seems shocking. But Kasper Holten's new production, currently at the Finnish National Opera, is also exceptionally intelligent. Holten connects Der fliegende Holländer to Der Meistersinger von Nürnberg and even to Parsifal by bringing out sub-texts on artistic creativity and metaphysics. And what amazing theatre this is, too, and very sensitive to the abstract cues in the music. .
A welcome addition to Lyric Opera of Chicago’s roster was its recent production of Jules Massenet’s Don Quichotte.
800 years ago, every book was a precious treasure - ‘written on skin’. In George Benjamin’s and Martin Crimp’s 2012 opera, Written on Skin, modern-day archivists search for one such artefact: a legendary 12th-century illustrated vanity project, commissioned by an unnamed Protector to record and celebrate his power.
It was like a “Date Night” at Staatsoper unter den Linden with
its return of Eike Gramss’ 2012 production of Puccini’s Madama
Butterfly. While I entered the Schiller Theater, the many young couples
venturing to the opera together, and emerging afterwards all lovey-dovey and
moved by Puccini’s melodramatic romance, encouraged me to think more
positively about the future of opera.
For the Late Night concert after the Saturday series, fifteen Berliners
backed up Barbara Hannigan in yet another adventurous collaboration on a modern
rarity with Simon Rattle. I was completely unfamiliar with the French composer,
but the performance tonight made me fall in love with Gérard
Grisey’s sensually disintegrating soundscape Quatre chants pour
franchir le seuil, or “Fours Songs to cross the
One of the things I love about the Philharmonie in Berlin, is the normalcy
of musical excellence week after week. Very few venues can pull off with such
illuminating star wattage. Michael Schade, Anne Schwanewilms, and Barbara
Hannigan performed in two concerts with two larger-than-life conductors
Thielemann and Rattle. We were taken on three thrilling adventures.
Lyric Opera of Chicago’s original and superbly cast production of Hector Berlioz’s Les Troyens has provided the musical public with a treasured opportunity to appreciate one of the great operatic achievements of the nineteenth century.
The Little Opera Company opened its 21st season by championing its own, as it presented the world premiere of Winnipeg composer Neil Weisensel’s Merry Christmas, Stephen Leacock.
In 2015, Bampton Classical Opera’s production of Salieri’s La grotta di Trofonio - a UK premiere - received well-deserved accolades: ‘a revelation ... the music is magnificent’ (Seen and Heard International), ‘giddily exciting, propelled by wit, charm and bags of joy’ (The Spectator), ‘lively, inventive ... a joy from start to finish’ (The Oxford Times), ‘They have done Salieri proud’ (The Arts Desk) and ‘an enthusiastic performance of riotously spirited music’ (Opera Britannia) were just some of the superlative compliments festooned by the critical press.
How many singers does it take to make an opera? There are single-role operas - Schönberg’s Erwartung (1924) and Eight Songs for a Mad King by Peter Maxwell Davies (1969) spring immediately to mind - and there are operas that just require a pair of performers, such as Rimsky-Korsakov’s Mozart i Salieri (1897) or The Telephone by Menotti (1947).
Now in its 31st year, the 2016 Christmas Festival at St John’s Smith Square has offered sixteen concerts performed by diverse ensembles, among them: the choirs of King’s College, London and Merton College, Oxford; Christchurch Cathedral Choir, Oxford; The Gesualdo Six; The Cardinall’s Musick; The Tallis Scholars; the choirs of Trinity College and Clare College, Cambridge; Tenebrae; Polyphony and the Orchestra of the Age of the Enlightment.
As 2016 draws to a close, we stand on the cusp of a post-Europe, pre-Trump world. Perhaps we will look back on current times with the nostalgic romanticism of Richard Strauss’s 1911 paean to past glories, comforts and certainties: Der Rosenkavalier.
Ah, Loft Opera. It’s part of the experience to wander down many dark
streets, confused and lost, in a part of Brooklyn you’ve never been. It
is that exclusive—you can’t even find the
Let’s start by getting a couple of gripes out of the way. First, the
final act of Die Walküre does not constitute a full-length
concert, even with a distinguished cast and orchestra, and with animated
drawings fluttering on a giant screen.
When you combine two charismatic New York stage divas with the artistry of Los Angeles Opera, you have a mix that explodes into singing, dancing and an evening of superb entertainment.
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’.
24 Nov 2009
Musical Exoticism: Images and Reflections
Ralph Locke’s recent book on Musical Exoticism is both an historical survey of aspects of the exotic in Western musical culture and a discussion of paradigms of the exotic and their relevance for musicological understanding.
Locke divides his investigation into two major parts, which may
be characterized as 1) methodological, and 2) illustrative, the latter
furnishing numerous examples starting with Händel and Rameau and extending
through to current compositions including cinematic music.
In the first part Locke is careful to differentiate his position on
exoticism and related terms vis-à-vis others who have approached this topic in
the past. Locke’s introductory remarks, in which he elaborates on the
meaning of “exotic” especially as used for Western music, set forth
terms that he will use extensively in subsequent chapters. He broaches, for
instance, an analytical paradigm which he terms “Exotic Style
Only,” modifying this with his own “All the Music in Full Context
Paradigm.” To be sure, both models receive full expression, with
appropriate examples, in the following chapters. Yet the reader is here
prepared for a critical discussion that will demonstrate Locke’s point
that “exoticness often depends not just on the musical notes but also on
their context as well as on other factors, such as the particulars of a given
performance and the musical and cultural preparation of a given
listener.”  Based on this assumption Locke seeks to broaden his
readers’ understanding of the exotic in music while claiming that
“musical exoticism is not “contained in” specific devices.
Rather it arises through an interaction between a work, in all
[author’s emphasis] its aspects, and the listener.”  Before
closing his introductory remarks Locke reinforces such distinctions by
reminding his audience of exotic environments or individual characters, often
portrayed in opera, which are rendered by traditional, “non-exotic
musical means.”  Examples of this tendency for Locke include
Handel’s Tamerlano and Puccini’s Madama
Butterfly, both illustrating a culture or milieu in some way foreign to
the potential audience. Neither work is composed entirely, or even
consistently, of elements that would be identified as distinctly part of an
exotic medium. The synchronization of the listener’s expectations with
the composer’s means and intentions will then yield an exoticism that is,
ultimately, a type of “reception.” 
In these issues marking his approach to the exotic in music Locke is able to
draw on theoretical grounding in the work of fellow musicologists, e.g. Rose
Rosengard Subotnik and Richard Taruskin. Here Locke is especially interested in
approaches that are based not only on “musical analysis” alone but
also those which consider societal components as well as extra-musical
associations. This balance can prove to be difficult to maintain, even among
those scholars who are suggested as leading proponents. As an example, the
passage cited here from Subotnik’s work on Deconstructive
Variations relies on the harmonic analysis of a Chopin score, reflecting a
more text-based and traditional approach; only at the conclusion of the
relevant chapter does the commentary move toward questions of music in society.
Locke admits to the difficulty of submitting much of what he terms
“Western art music,” e.g. sonatas, symphonies, quartets, to an
overriding social analysis. It is surely then a logical first step in the
revisionist approach to musical exoticism here taken that a number of
Locke’s examples show a clear association with some “other”
place and people. [20-21] This enables the author to establish categories of
analysis for his “Full-Context” Paradigm, which may subsequently be
applied to other musical examples or forms. Finally Locke considers the
approaches taken in recent investigations with a specific focus on his chosen
topic. Hence Jonathan Bellman’s and Timothy D. Taylor’s books are
examined for their usefulness in the portrayal of musical exoticism, yet both
are understood by Locke as functioning within the framework of an “Exotic
Style Only” Paradigm, as found in the present study. Locke sets for
himself the task of using the foundation already set by these previous scholars
and of expanding the possible associations of exoticism with further
“crucial and neglected issues.” 
In his proposed new definition of exoticism Locke relies on concepts such as
“Here and There” and “home country or culture.” 
Especially significant in the author’s new definition is a
differentiation between the perceptions of listeners reacting during the
composer’s day and those hearing a piece still performed many years
later. As put succinctly by Locke, these latter “listeners may now be
living in new and different cultural situations and may thus bring different
values and expectations to the work.”  As an enhancement of
suggestions first put forth by Dahlhaus, Locke assembles a “relatively
comprehensive typology”  of stylistic features which have been
typical in Western music perceived as exotic during the past few centuries.
Here he considers not only matters of pitch and harmony or dissonance but also
modal features and repeated patterns of rhythm or melody often derived from
dance. Locke refers to variations on a number of these stylistic features in
subsequent chapters when analyzing specific works and questioning how these
might be perceived by a given listener in a given age as exotic.
In the second major division of his book Locke presents a disciplined survey
of various musical forms from the beginning of the eighteenth century until the
present day in order to arrive at a trajectory of the exotic in music. The
section entitled “Handel’s Eastern Dramas” is intended by
Locke to examine and compare the portrayal of various historical figures in the
operas and oratorios with a relevant geographical anchor. Hence typical despots
from the East, characters in Tamerlano and Belshazzar, are
discussed from the viewpoint of ideological gesture, political message, and
musical style. This depiction is then contrasted with a contemporary display of
even greater geographical variety in Rameau’s Les Indes
galantes. By using similar methods for analyzing musical-dramatic works
from the same period Locke is able to develop, in gradually evolving
chronological segments, an aesthetic of the exotic. This range of aesthetic and
social concerns is then treated from Mozart’s Turkish style to the gypsy
image in Carmen, emerging ultimately into twentieth-century works, a
period starting with the exotic in Madama Butterfly. The reader and
listener are then left — appropriately — with questions concerning
additional works by those very contemporaries discussed, e.g. Gretry and
Massenet, and how such pieces might be fit into the model as it further
evolves. The extensive bibliography will serve, when combined with
Locke’s suggestions for methodology, as a means to explore the topic of
exoticism on many other musical avenues.
Click here for an online preview of Musical Exoticism.