Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Christine Goerke - Strauss Elektra BBC Proms London

The second day of the Richard Strauss weekend at the BBC Proms saw Richard Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014 by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine Goerke in the title role. Felicity Palmer was Clytemnestra, Gun-Brit Barkmin was Chrysothemis, Robert Kunzli was Aegisthus and Johan Reuter was Orestes. The concert staging was by Justin Way.

Christine Goerke - Strauss Elektra BBC Proms London

The second day of the Richard Strauss weekend at the BBC Proms saw Richard Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014 by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine Goerke in the title role. Felicity Palmer was Clytemnestra, Gun-Brit Barkmin was Chrysothemis, Robert Kunzli was Aegisthus and Johan Reuter was Orestes. The concert staging was by Justin Way.

Powerful Mahler Symphony no 2 Harding, BBC Proms London

Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.

Nina Stemme's stunning Strauss Salome, BBC Proms London

The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings

Santa Fe Opera Presents Updated, at One Point Up-ended, Don Pasquale

On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!

Dolora Zajick Premieres Composition

At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.

Gluck: Orfeo ed Euridice

This elegant, smartly-paced film turns Gluck’s Orfeo into a Dostoevskian study of a guilt-wracked misanthrope, portrayed by American countertenor Bejun Mehta.

Aureliano in Palmira in Pesaro

Ossia Il barbiere di Siviglia. Why waste a good tune.

Britten War Requiem - Andris Nelsons, CBSO, BBC Prom 47

In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.

Il barbiere di Siviglia in Pesaro

Both by default and by merit Il barbiere di Siviglia is the hit of the thirty-fifth Rossini Opera Festival. But did anyone really want, and did the world really need yet another production of this old warhorse?

Armida in Pesaro

Armida (1817) is the third of Rossini’s nine operas for the Teatro San Carlo in Naples, all serious. The first was Elisabetta, regina di Inghilterra (1815), the second was Otello (1816), the last was Zelmira (1822).

Santa Fe Opera Presents an Imaginative Carmen

Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.

Elgar Sea Pictures : Alice Coote, Mark Elder Prom 31

Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.

Berio Sinfonia, Shostakovich, BBC Proms

Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.

Four countertenors : Handel Rinaldo Glyndebourne

Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.

Santa Fe Opera Presents The Impresario and Le Rossignol

On August 7, 2014, the Santa Fe Opera presented a double bill of Wolfgang Amadeus Mozart’s The Impresario and Igor Stravinsky’s Le Rossignol (The Nightingale). The Impresario deals with the casting of an opera and Le Rossignol tells the well-known fairy tale about the plain gray bird with an exquisite song.

Barber in the Beehive State

Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.

Stravinsky : Oedipus Rex, BBC Proms

In typical Proms fashion, BBC Prom 28 saw Stravinsky's Oedipus Rex performed in an eclectic programme which started with Beethoven's Egmont Overture and also featured Electric Preludes by the contemporary Australian composer Brett Dean. Sakari Oramo,was making the first of his Proms appearances this year, conducting the BBC Symphony Orchestra, BBC Singers and BBC Symphony Chorus.

Santa Fe Opera Presents a Passionate Fidelio

Santa Fe Opera presented Beethoven’s Fidelio for the first time in 2014. Since the sides of the opera house are open, the audience watched the sun redden the low hanging clouds and set below the Sangre de Cristo mountains while Chief Conductor Harry Bicket led the Santa Fe Opera Orchestra in the rousing overture. At the same time, Alex Penda as the title character readied herself for the ordeal to come as she endeavored to rescue her unjustly imprisoned husband.

Die Entführung aus dem Serail @ Hangar-7

We see the characters first in two boxes at an opera house. The five singers share a box and stare at the stage. But Konstanze’s eye is caught by a man in a box opposite: Bassa Selim (actor Tobias Moretti), who stares steadily at her and broods in voiceover at having lost her, his inspiration.

OPERA TODAY ARCHIVES »

Reviews

 Alan Oke as M. K. Gandhi [Photo by Alastair Muir/ENO]
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.

Philip Glass: Satyagraha

Alan Oke: Gandhi; Elena Xanthoudakis: Miss Schlesen; Janis Kelly: Mrs Naidoo; Stephanie Marshall: Kasrurbai; Ashley Holland: Mr Kallenbach; James Gower: Parsi Rustomji and Lord Krishna ;Anne Mason: Mrs Alexander; Roger Poulton:Prince Arjuna. Skills Ensemble. Improbable. Phelim McDermott: Director. Julian Crouch: Set Designer. Kevin Pollard: Costumes. Stuart Stratford: Conductor. English National Opera,The Coliseum, London. 25th February 2010

Above: Alan Oke as M. K. Gandhi

All photos by Alastair Muir/ENO

 

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.

Satyagraha_001.gifStephanie 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.

Anne Ozorio

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):