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Calliope Tsoupaki’s latest opera, Fortress Europe, premiered
as spring began taming the winter storms in the Mediterranean.
To celebrate its 40th anniversary New Sussex Opera has set itself the challenge of bringing together the six scenes - sometimes described as six discrete ‘tone poems’ - which form Delius’s A Village Romeo and Juliet into a coherent musico-dramatic narrative.
Following highly successful UK premières of Salieri’s Falstaff (in 2003) and Trofonio’s Cave (2015), this summer Bampton Classical Opera will present the first UK performances since the late 18th century of arguably his most popular success: the bitter comedy of marital feuding, The School of Jealousy (La scuola de’ gelosi). The production will be designed and directed by Jeremy Gray and conducted by Anthony Kraus from Opera North. The English translation will be by Gilly French and Jeremy Gray. The cast includes Nathalie Chalkley (soprano), Thomas Herford (tenor) and five singers making their Bampton débuts:, Rhiannon Llewellyn (soprano), Kate Howden (mezzo-soprano), Alessandro Fisher (tenor), Matthew Sprange (baritone) and Samuel Pantcheff (baritone). Alessandro was the joint winner of the Kathleen Ferrier Competition 2016.
Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of
Leoš Janàček’s 1921 domestic tragedy, and not entirely in a
Applications are now open for the Bampton Classical Opera Young Singers’ Competition 2017. This biennial competition was first launched in 2013 to celebrate the company’s 20th birthday, and is aimed at identifying the finest emerging young opera singers currently working in the UK.
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
Handel’s Partenope (1730), written for his first season at the King’s Theatre, is a paradox: an anti-heroic opera seria. It recounts a fictional historic episode with a healthy dose of buffa humour as heroism is held up to ridicule. Musicologist Edward Dent suggested that there was something Shakespearean about Partenope - and with its complex (nonsensical?) inter-relationships, cross-dressing disguises and concluding double-wedding it certainly has a touch of Twelfth Night about it. But, while the ‘plot’ may seem inconsequential or superficial, Handel’s music, as ever, probes the profundities of human nature.
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
A skewering of the preening pretentiousness of the Pre-Raphaelites and Aesthetes of the late-nineteenth century, Gilbert and Sullivan’s 1881 operetta Patience outlives the fashion that fashioned it, and makes mincemeat of mincing dandies and divas, of whatever period, who value style over substance, art over life.
Irish mezzo-soprano Tara Erraught demonstrated a relaxed, easy manner and obvious enjoyment of both the music itself and its communication to the audience during this varied Rosenblatt Series concert at the Wigmore Hall. Erraught and her musical partners for the evening - clarinettist Ulrich Pluta and pianist James Baillieu - were equally adept at capturing both the fresh lyricism of the exchanges between voice and clarinet in the concert arias of the first half of the programme and clinching precise dramatic moods and moments in the operatic arias that followed the interval.
This Sunday the Metropolitan Opera will feature as part of the BBC Radio 3 documentary, Opera Across the Waves, in which critic and academic Flora Willson explores how opera is engaging new audiences. The 45-minute programme explores the roots of global opera broadcasting and how in particular, New York’s Metropolitan Opera became one of the most iconic and powerful
producers of opera.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
The first production of Ryan Wigglesworth’s first opera, based upon Shakespeare’s The Winter’s Tale, is clearly a major event in English National Opera’s somewhat trimmed-down season. Wigglesworth, who serves also as conductor and librettist, professes to have been obsessed with the play for more than twenty years, and one can see why The Winter’s Tale, with its theatrical ‘set-pieces’ - the oracle scene, the tempest, the miracle of a moving statue - and its grandiose emotions, dominated as the play is by Leontes’ obsessively articulated, over-intellectualized jealousy, would invite operatic adaptation.
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.