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A new recording, made late last year, Morfydd Owen : Portrait of a Lost Icon, from Tŷ Cerdd, specialists in Welsh music, reveals Owen as one of the more distinctive voices in British music of her era : a grand claim but not without foundation. To this day, Owen's tally of prizes awarded by the Royal Academy of Music remains unrivalled.
On March 24, 2017, Los Angeles Opera revived its co-production of Jacques Offenbach’s The Tales of Hoffmann which has also been seen at the Mariinsky Opera in Leningrad and the Washington National Opera in the District of Columbia.
Ermonela Jaho is fast becoming a favourite of Covent Garden audiences, following her acclaimed appearances in the House as Mimì, Manon and Suor Angelica, and on the evidence of this terrific performance as Puccini’s Japanese ingénue, Cio-Cio-San, it’s easy to understand why. Taking the title role in the first of two casts for this fifth revival of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, Jaho was every inch the love-sick 15-year-old: innocent, fresh, vulnerable, her hope unfaltering, her heart unwavering.
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.
17 Mar 2010
Philip Glass: Satyagraha, ENO, London 2010
Philip Glass's Satyagraha at the English National Opera, at the Coliseum, London, proves that modern minimalism can be extraordinarily moving. The secret is to open your soul, as Gandhi did, when he searched the Baghavad-Gita for inspiration.
Satyagraha doesn’t sound promising in theory, because it’s sung in Sanskrit and Glass’s repetitive monotones drone on shapelessly. But for once, that’s the whole point, that words alone are meaningless. Real change is brought about when people think and act.
The story is set in Gandhi’s youth, when he still believed that conventional, middle class ideas could change things. While he lived in South Africa, he was a facsimile of the British middle class intellectual, agitating through the press, hoping thus to change the entrenched colonial system.His big breakthrough came when he switched to direct action. By swapping his tweed three-piece suit for a simple cotton loincloth, he was making a truly radical statement: you don’t change the power structure by playing its own games.
Glass’s strange repetitive music works perfectly with the theme, too. His cadences hardly vary, so you worry that the musicians will get RSI. Yet listen carefully, and the repeats mutate in microtones, gradually shifting gears, so that when there’s a flight into lyricism, it strikes you all the more. This unrushed monotony is as natural as breathing. Hindus chant the word “Om” endlessly, until the vibration enters their bodies, allowing their minds to float, beyond consciousness. So it is with Glass’s music, informed by other and older traditions than western music.Your focus shifts inwards, beyond outward form.
There was exceptionally idiomatic playing from the ENO orchestra, conducted by Stuart Stratford. When the orchestra took their bows, parts of the audience went wild with enthusiasm. Clearly an audience that knows new music, or accepts it on its own terms. Satyagraha is the biggest selling contemporary opera the ENO has produced.
The text is in Sanskrit, which most people, including Indians, don’t understand. This is deliberate because what Gandhi discovered was that words and meaning aren’t the same thing. Hence the scene from the epic myth of Arjuna. The hero’s enemies are puppets, men with sticks who crumble when moved. Scene titles appear, like chapter headings in books, but what unfolds on stage isn’t narrative. Tolstoy and Tagore appear in panels above the stage. You don’t really need to know who they are, because the idea is that you’ll want to find out more, later.This opera moves outside the box in time and space!
There are so many amazing images in this production that it’s hard to take them all in at once. Some are striking, like the giant puppets that descend menacingly on Gandhi, corralled by bigots singing “hahahaha”. Others are elusive, like the fish which materializes in the second act. It doesn’t matter if we don’t get them all. Like words, images are hints of meaning, not meaning in themselves. Like poetry, meaning is oblique, revealing itrself slowly.
Stephanie Marshall as Kasturbai Gandhi’s wife, Elena Xanthoudakis as Miss Schlesen Gandhi’s secretary, Janis Kelly as Mrs Naidoo’s Indian co-worker and Ashley Holland Mr Kallenbach’s European co-worker
Because Glass’s music is so unusual, and his text obscure, staging in this opera is even more important than usual. Phelim McDermott, Julian Crouch and Improbable and their team have created a theatrical masterpiece which is sensitive and well-informed.
The staging is so atmospheric that the simple clean lines of the Third Act come as quite a shock. Gandhi sits front stage while a man ascends a ladder. The reference is Martin Luther King. who adapted the principles of Satyagraha to the Civil Rights Movement. At the premiere in 2007, I thought this act was too abrupt a change from the sepia-tinted mystery that had gone before, and that the image of King waving to the clouds was contrived, as if designed for American audiences who might not appreciate how powerful the British Empire once was.Since then, Barack Obama has become President. But have we really”reached the mountain top”?
On the other hand, the spareness of this Act hones in on Alan Oke as Gandhi. Perhaps it’s significant that until this stage in the opera, Oke sings with an ensemble or remains relatively quiet. Now he’s centre focus. He sings two extended “arias”, the first with its references to “athletes of the spirit” who hold steadfast unto death. The second is more lyrical for he’s expressing transcendence. Oke has matured into the part, and is singing with greater depth and dignity than three years ago. He’s in his element now. You don’t need to know the exact words he’s singing, because he conveys their sense with such conviction. Also more comfortable this time, in the role of Miss Schlesen, is Elena Xanthoudakis: whose sings lovely flights of lyrical beauty. Musically, this production is even better than before, superb performances all round. It’s far tighter than the Stuttgart production available on DVD. Let’s hope this one is preserved on film. It’s a classic.