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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’.
As the German language describes so beautifully, a “Schrei aus
tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra
from the depths of her soul.
03 Nov 2009
Thomas Arne’s Artaxerxes — Baroque Hyperbole
Thomas Arne's masterpiece, Artaxerxes, was a huge hit after its 1762 debut. Yet the work is now a rarity. This spectacular performance at the Linbury Studio Theatre, will certainly raise its public profile.
Baroque is hyperbole, celebrating exuberance. Artaxerxes, set in ancient Persia, gave Arne an opportunity to create an “oriental” fantasy that would shock and awe. This production, by the Royal Opera House at the Linbury Studio Theatre certainly was spectacular in the true, over-the-top baroque manner, enhanced by modern technology.
Artaxerxes starts in silence. The Orchestra of the Classical Opera Company sits on stage in a brightly lit white pit. They’re wearing white too, which dazzles in the darkly shrouded stage. Gradually from the shadows emerges a truly magnificent golden throne, not like any story-book European king’s throne but an intricate golden web, 5 meters high. It references the Pharaohs —Tutankhamen meets the Peacock Throne of Persia..
The costumes (by Johan Engels) are amazing. They look vaguely 18th century yet are made of Japanese brocade and silk, lime green, neon pink, electric blue, colours that rarely exist in nature, with samurai-like shoulderpads and helmets. European, but with a distinctly alien flamboyance. This is the true magpie spirit of the baroque, an age when Europe discovered that worlds existed beyond anything they’d imagined. It didn’t matter if the influences were Japan or Persia, as long as they were exotic.
The servants who also act as guards, are mysterious, some wearing samurai helmets, but often simply swathed in black, like ninjas. This could be a reference to bunraku, the Japanese theatre tradition where puppets “act”, manipulated by black-clad puppeteers, meant to be semi-invisible. It could be a comment on how formal and stylized life in Court circles might have been. When the singers collapse emotionally, they fall down, held up by the “ninjas” who then become symbols of dark, inexpressible feelings.
The costumes may be hyper-real and the set minimalist, but that reflects the plot. It’s so convoluted it’s not easy to follow even if you’ve read up on it. Artaxerxes’s father Xerxes is assassinated by Artabanes, father of Arbaces, Artaxerxes’s best friend. Both young men are in love with each others sisters. Father frames son for the murder and condemns him to death. But the son is so loyal to the new king, that he kills the rebel General. In remorse, Artabanes confesses and Artaxerxes exiles his regicide future farher in law, restoring the son to honour and marrying the daughter.
Musically, Artaxerxes is surprisingly simple, with a small chamber orchestra, instruments doubled for volume. The continuos are harpsichord and cello. Some of the arias are familiar even though the opera itself is rarely heard. There are good moments for vocal pyrotechnics. Words are held for 10 or 12 measures amply decorated. Nonetheless, it’s not specially inventive as music.Artaxerxes will be much better known thanks to this production, but might not have quite the same effect in concert performance.
Very good singing all round. Christopher Ainslie’s Artaxerxes wasn’t so extreme as some countertenors can be, so he didn’t shake the balance of the ensemble but convinced as an intuitive young man who doesn’t do ruthless. Caitlin Hulcup’s Arbaces was so convincing that you had to remind yourself she was a mezzo. Elizabeth Watts’s Mandane, and Andrew Staples’s Artabanes were solid. Steven Ebel’s Rimenes was striking, his stage presence mature beyond his actual age.
Rebecca Bottone’s Semira was outstanding. Tiny as she is, she sings and acts with such intensity that it seems to shake her frame. It’s Semira who challenges everyone, and it is she who doesn’t accept that Arbaces is a killer. Left to his own devices the poor fellow is a bit of a wimp, despite being sweet. Bottone’s passionate portrayal was so strong that she was worth watching even when she wasn’t singing.
This was a new performing edition by Ian Page, who conducted and wrote additional music for the recitatives. Duncan Druce write the delightful finale, where all the cast sing before the golden throne. The original recitatives and finale were lost in a fire that burned down a theatre not far from Covent Garden in 1808, so it’s good that it should be restored and heard again at the Royal Opera House, not far from where Arne lived 250 years ago.