14 Jan 2010
Britten: Peter Grimes
Are you sitting comfortably?
The BBC Proms 2014 season began with Sir Edward Elgars The Kingdom (1903-6). It was a good start to the season,which commemorates the start of the First World War. From that perspective Sir Andrew Davis's The Kingdom moved me deeply.
One is unlikely to come across a cast of Figaro principals much better than this today, and the virtues of this performance indeed proved to be primarily vocal.
Assured elegance, care and thoughtfulness characterised tenor James Gilchrist’s performance of Schubert’s Schwanengesang at the Wigmore Hall, the cycles’ two poets framing a compelling interpretation of Beethoven’s An die ferne Geliebte.
‘Music for a while shall all your cares beguile.’ Dryden’s words have never seemed as apt as at the conclusion of this wonderful sequence of improvisations on Purcell’s songs and arias, interspersed with instrumental chaconnes and toccatas, by L’Arpeggiata.
The acoustic of the gigantic Théâtre Antique Romain at Orange cannot but astonish its nine thousand spectators, the nearly one hundred meter breadth of the its proscenium inspires awe. There was excited anticipation for this performance of Verdi’s first masterpiece.
Richard Strauss may be most closely associated with the soprano voice but this recording of a selection of the composer’s lieder by baritone Thomas Hampson is a welcome reminder that the rapt lyricism of Strauss’s settings can be rendered with equal beauty and character by the low male voice.
Opera Theatre of Saint Louis has once again staked claim to being the summer festival “of choice” in the US, not least of all for having mounted another superlative world premiere.
In past years the operas of the Aix Festival that took place in the Grand Théâtre de Provence began at 8 pm. The Magic Flute began at 7 pm, or would have had not the infamous intermittents (seasonal theatrical employees) demanded to speak to the audience.
High drama in Aix. Three scenarios in conflict — those of G.F. Handel, Richard Jones and the intermittents (disgruntled seasonal theatrical employees). Make that four — mother nature.
The programme declared that ‘music, water and night’ was the connecting thread running through this diverse collection of songs, performed by soprano Lucy Crowe and pianist Anna Tilbrook, but in fact there was little need to seek a unifying element for these eclectic works allowed Crowe to demonstrate her expressive range — and offered the audience the opportunity to hear some interesting rarities.
‘Only make the reader’s general vision of evil intense enough and his own experience, his own imagination, his own sympathy will supply him quite sufficiently with all the particulars.
It is not often that concept, mood, music and place coincide perfectly. On the first night of Opera della Luna’s La Fille du Regiment at Iford Opera in Wiltshire, England we arrived with doubts (rather large doubts it should be admitted)as to whether Donizetti’s “naive and vulgar” romp of militarism and proto-feminism, peopled with hordes of gun-toting soldiers and praying peasants, could hardly be contained, surely, inside Iford’s tiny cloister?
‘Lovers and madmen have such seething brains,/ Such shaping fantasies, that apprehend/ More than cool reason ever comprehends.’
Belgian soprano Sophie Karthäuser has a rich range of vocal resources upon which to draw: she has power and also precision; her top is bright and glinting and it is complemented by a surprisingly full and rich lower register; she can charm with a flowing lyrical line, but is also willing to take musical risks to convey emotion and embody character.
‘When two men like us set out to produce a “trifle”, it has to become a very serious trifle’, wrote Hofmannsthal to Strauss during the gestation of their opera about opera.
Janáček started The Cunning Little Vixen on the cusp of old age in 1922 and there is something deeply elegiac about it.
It took only a couple of years for Il trovatore and Rigoletto to make it from Italy to the Opéra de Marseille, but it took La traviata (Venice, 1853) sixteen years (Marseille, 1869).
Gesamtkunstwerk, synthesis of fable, sound, shape and color in art, may have been made famous by Richard Wagner, and perhaps never more perfectly realized than just now by San Francisco Opera.
Luca Francesconi is well-respected in the avant garde. His music has been championed by the Arditti Quartett and features regularly in new music festivals. His opera Quartett has at last reached London after well-received performances in Milan and Amsterdam.
Manon Lescaut at the Royal Opera House, London, brings out the humanity which lies beneath Puccini's music. The composer was drawn to what we'd now called "outsiders. In Manon Lescaut, Puccini describes his anti-heroine with unsentimental honesty. His lush harmonies describe the way she abandons herself to luxury, but he doesn't lose sight of the moral toughness at the heart of Abbé Prévost's story, Manon is sensual but, like her brother, fatally obssessed with material things. Only when she has lost everything else does she find true values through love..
Are you sitting comfortably?
That polite inquiry seems to have been on the mind of David Pountney as he came to the Zurich Opera House to direct Benjamin Britten’s masterpiece, Peter Grimes. Chairs dominate the set design of Robert Israel. White-washed, stiff-backed chairs — tilted, upside-down, atop pillars, empty and occupied, placed here, there, everywhere.
The concept veers between the intriguing and the irritating. Perhaps Pountney sees the confined nature of village life as being as punishing and restrictive as being forced to sit like a schoolchild. Or does the director see the villagers’ prejudices as “deep-seated”? Any number of interpretations may present themselves, but without any coalescing around a theme pertinent to the opera, in the end the chairs just seem like a staging gambit — one not especially visually appealing, either.
Marie-Jeanne Lecca’s costumes are the expected — a wooly, dark-hued sweater for Grimes, prim dress for Ellen Orford, and grays and blacks for the villagers, except for the “nieces” of Auntie. Mixing an abstract setting with traditional costumes has become ubiquitous, most probably because it may forestall the complaints of the traditionalists, while giving a production some claim to freshness. In this case, the compromise wears away at any sense of insight or incisiveness.
A more interesting contribution comes from conductor Franz Welser-Möst, who leads a reading of sharpness, even astringency, making Britten’s basically tonal score sound like a stepchild of Berg’s Wozzeck. The famous interludes have a fierce power; even “Dawn” has intensity and trepidation. A decent cast sings well, though without the individual profile Welser-Möst brings to his conducting. Christopher Ventris has the voice but not the presence to make Grimes tragic or complex. He doesn’t seem worth either Ellen Orford’s conflicted devotion or the villagers’ unmodulated animosity. Emily Magee’s strong vocals and sturdy presence as Ellen make the character seem less fragile than self-deluded — a viable option, but one that mutes the opera’s terror. The rest of the cast is able.
EMI Classics provides no bonus features and a bare-bones booklet. The 150-minute performance also spreads out over two discs. It’s a too cool presentation of what should be a shiver-inducing opera.