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Is A Dog’s Heart even an opera? It is sung by opera singers to live
music. Alexander Raskatov’s score, however, is secondary to the incredible
stage visuals. Whatever it is, actor/director Simon McBurney’s first stab at
opera is fantastic theatre. Its revival at Dutch National Opera, where it
premiered in 2010, is hugely welcome.
In May 2016, Opera Rara gave Bellini aficionados a treat when they gave a concert performance of Vincenzo Bellini’s first opera, Adelson e Salvini, at the Barbican Hall. The preceding week had been spent in the BBC’s Maida Vale Studios, and this recording, released last month, is a very welcome addition to Opera Rara’s bel canto catalogue.
Jonas Kaufmann Mahler Das Lied von der Erde is utterly unique but also works surprisingly well as a musical experience. This won't appeal to superficial listeners, but will reward those who take Mahler seriously enough to value the challenge of new perspectives.
Following Garsington Opera for All’s successful second year of free public screenings on beaches, river banks and parks in isolated coastal and rural communities, Handel’s sparkling masterpiece Semele will be screened in four areas across the UK in 2017. Free events are programmed for Skegness (1 July), Ramsgate (22 July), Bridgwater (29 July) and Grimsby (11 October).
I kept hearing from knowledgeable opera fanatics that the Israeli Opera (IO) in Tel Aviv was a surprising sure bet. So I made my way to the Homeland to hear how supposedly great the quality of opera was. And man, I was in for treat.
At Phoenix’s Symphony Hall on Friday evening April 7, Arizona Opera offered its final presentation of the 2016-2017 season, Gioachino Rossini’s Cinderella (La Cenerentola). The stars of the show were Daniela Mack as Cinderella, called Angelina in the opera, and Alek Shrader as Don Ramiro. Actually, Mack and Shrader are married couple who met singing these same roles at San Francisco Opera.
On Saturday evening April 1, 2017, Placido Domingo and Los Angeles Opera celebrated their tenth year of training young opera artists in the Domingo-Colburn-Stein Program. From the singing I heard, they definitely have something of which to be proud.
The Festspielhaus in Baden-Baden pretty much programs only big stars. A prime example was the Fall Festival this season. Grigory Sokolov opened with a piano recital, which I did not attend. I came for Cecilia Bartoli in Bellini’s Norma and Christian Gerhaher with Schubert’s Die Winterreise, and Anne-Sophie Mutter breathtakingly delivering Mendelssohn’s Violin Concerto together with the London Philharmonic Orchestra. Robin Ticciati, the ballerino conductor, is not my favorite, but together they certainly impressed in Mendelssohn.
Mahler as dramatist! Mahler Symphony no 8 with Vladimir Jurowski and the London Philharmonic Orchestra at the Royal Festival Hall. Now we know why Mahler didn't write opera. His music is inherently theatrical, and his dramas lie not in narrative but in internal metaphysics. The Royal Festival Hall itself played a role, literally, since the singers moved round the performance space, making the music feel particularly fluid and dynamic. This was no ordinary concert.
Imagine a fête galante by Jean-Antoine Watteau brought to life, its colour and movement infusing a bucolic scene with charm and theatricality. Jean-Philippe Rameau’s opéra-ballet Les fêtes d'Hébé, ou Les talens lyriques, is one such amorous pastoral allegory, its three entrées populated by shepherds and sylvans, real characters such as Sapho and mythological gods such as Mercury.
Details of the Royal Opera House's 2017/18 Season have been announced. Oliver Mears, who will begin his tenure as Director of Opera, comments:
“I am delighted to introduce my first Season as Director of Opera for The Royal Opera House. As I begin this role, and as the world continues to reel from social and political tumult, it is reassuring to contemplate the talent and traditions that underpin this great building’s history. For centuries, a theatre on this site has welcomed all classes - even in times of revolution and war - to enjoy the most extraordinary combination of music and drama ever devised. Since the time of Handel, Covent Garden has been home to the most outstanding performers, composers and artists of every era. And for centuries, the joyous and often tragic art form of opera has offered a means by which we can be transported to another world, in all its wonderful excess and beauty.”
Whatever one’s own religious or spiritual beliefs, Bach’s St Matthew Passion is one of the most, perhaps the most, affecting depictions of the torturous final episodes of Jesus Christ’s mortal life on earth: simultaneously harrowing and beautiful, juxtaposing tender stillness with tragic urgency.
Lindy Hume’s sensational La bohème at the Berliner
Staatsoper brings out the moxie in Puccini. Abdellah Lasri emerged as a
stunning discovery. He floored me with his tenor voice through which he
embodied a perfect Rodolfo.
Listening to Moritz Eggert’s Caliban is the equivalent of
watching a flea-ridden dog chasing its own tail for one-and-half hours. It
scratches, twitches and yelps. Occasionally, it blinks pleadingly, but you
can’t bring yourself to care for such a foolish animal and its
A large audience packed into the Wigmore Hall to hear the two Baroque rarities featured in this melodious performance by Christian Curnyn’s Early Opera Company. One was by the most distinguished ‘home-grown’ eighteenth-century musician, whose music - excepting some of the lively symphonies - remains seldom performed. The other was the work of a Saxon who - despite a few ups and downs in his relationship with the ‘natives’ - made London his home for forty-five years and invented that so English of genres, the dramatic oratorio.
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.
11 Apr 2010
Covert resistance to Hitler — Hartmann’s Simplicius Simplicissimus
An anti-facist, anti-war opera written in Germany while the Nazis were in power? K A Hartmann’s Des Simplicius Simplicissimus Jugend was a brave act of conscience, even though the opera wasn't publicly performed until 1948.
Simplicius Simplicissimus is loosely based on H J Chr Grimmelshausen’s 1669 allegory. This was set in the Thirty Years War, a defining trauma in German history, barely appreciated in the English-speaking world. “Anno Domini 1618 wohnten 12 millionen in Deutschland” goes Hartmann’s introduction. “Da kam der grosse Kreig”. Thirty years later, only 4 million remained. Hartmann uses an alt Deutsch idiom but it’s obvious what he really means.
There’s a new edition, recently recorded by the Münchner Rundfunkorchester conducted by Ulf Schirmer. The singing too is way above average, which in itself makes this a top recommendation : Michael Volle, Christian Gerhaher, Camilla Nylund and Will Hartmann. It’s live, too, recorded in a small theatre, which adds to the atmosphere. This performance is vividly dramatic. Even if you don’t understand a word of German, the impact is clear.
Like the 1669 original, Hartmann sets the opera in tableaux, each act divided into different Bild or Speil subsections, like a series of stylized woodcuts. This formality creates an otherworldly edge to the horrific tale within. A thundering, brooding overture sets the mood of overwhelming chaos. Hartmann’s orchestration is spartan: simple trumpets, drums, pipes, a modernist battaglia. From this the male voices develop, chanting in goose-step rhythms.
Simplicius appears. “Ein kleiner Bub bei den Schafen, kannte weder Gott noch Menschen, weder Himmel noch Hölle, weder Engel noch Teufel”. Notice the pattern of opposite images, which flows throughout the opera. The text is set in rhyming couplets, typical of German tradition, and the music moves in a similar grave two-step.
Simplicius is a “Holy Innocent”, so pure he knows nothing of heaven or hell. In Tarot the Fool signifies someone who goes forth into the world without fear, facing danger but protected by his purity. Siegfried without the selfishness. Hartmann sets the part for high soprano though the role is male: Nylund’s lucid, clear tones are perfect.
“Beware of the Wolf” warns the farmer (Michael Volle, with solemn bucolic gravity). Wolf of course was Hitler’s nickname. Simplicius doesn’t know what a wolf is. so when the Landknecht (Gerhaher) appears he thinks the Horseman is the vierbeiniger Schelm und Dieb the farmer warned about. “Weiss nit, Herr Wolf” cries Simplicius but the Landknecht attacks the farm and kills the “!Knän, die Meuder und das kleine Ursele” (these archaic words give the piece a deliberate old world air). Nylund sings a long passage describing the horrors of war, which ends with !”O armes geknechtetes Deutschland”.
Now Simplicius has wised up and heads into the forest where he meets a Hermit (another Tarot figure). The Hermit (Will Hartmann) sings music like stylized monastic chant, wavering weirdly. He teaches Simplicius to sing Unser Vater (Our Father). Give us our daily bread”. Simplicius, incorrigibly naive, asks “auch Käs dazu?” (and cheese, too?) Eventually the Hermit dies, leaving Simplicius to face the world alone. Provocatively, Hartmann writes into the death music an echo of the Kaddish.
Another powerful intermezzo, swirling strings, plunging brass, depicting storm clouds perhaps, as Simplicismus is flown into the Governor’s mansion. The soldiers boast of their tyranny and blaspheme. This chorus sound like drunken communal singing in a beer cellar, also a reference perhaps to the Nazis. This time Simplicius pipes up “that’s no way to speak”. “Can you hear the Mauskopf piepsen?” shouts the Governor. And of course, Simplicius’s music is flute and clarinet. The Governer (Volle) recites rather than sings, not Sprechstimme, but oddly discordant. He can’t figure the simpleton out.
Then Nylund’s tour de force. Words pour out of her at a shrill rapid pace, almost no time to take a breath. Using speech instead of song was a deliberate device by Hartmann to confront the audience. Simplicius harangues the listeners, without music to soften the effect. As she finds her strength her words are supported by drums. A militant but not military march? Then suddenly her voice rises in song. Es dröhnt die Stadt, es stapft daher, schäumende bitt’re Jammersg’walt. She’s joined by the chorus now representing farmers, the victims of the Thirty Years War. “Gepriesen sei der Richter der Wahrheit!” (Blessed be the Truth) sings Simplicius, now transformed into a symbol of hope. Behind her muffled drums and cymbals, the choir now softly humming, and the Sprecher reminds us that by 1648, 8 million Germans were killed.
Significantly, Hartmann dedicated the 1955/6 revision to Carl Orff whose Carmina Burana used a similar fake medieval context, which the Nazis loved, though they missed the subversive undercurrents. Hartmann knew what it was like living in a police state. More double-edged meaning. Simplicissimus is also the title of a magazine that satirized all abuses of power, military, political and religious. It was based in Munich, where Hartmann lived. While the stylized formality presages Stravinsky’s The Rake’s Progress, Hartmann’s Simplicius Simplicissimus stems from the Weimar tradition of political theatre.
As a plus,there’s a half hour discussion with recordings of Hartmann’s voice on the second CD in this set. As a minus, this set falls down as there’s no translation. One might think that an opera where German-language speech rhythms are so important won’t need translation because anyone listening will be fluent. But many of the words are archaic, not that easy for non-native speakers to follow. And non-Germans need to know this opera, to better understand Germany, the experience of war and the role of modern music.