10 Jun 2010
Musically Astute Armida, Garsington
Garsington has become a distinctive part of the English summer opera season.
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 good way.
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.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
The first production of Ryan Wigglesworth’s first opera, based upon Shakespeare’s The Winter’s Tale, is clearly a major event in English National Opera’s somewhat trimmed-down season. Wigglesworth, who serves also as conductor and librettist, professes to have been obsessed with the play for more than twenty years, and one can see why The Winter’s Tale, with its theatrical ‘set-pieces’ - the oracle scene, the tempest, the miracle of a moving statue - and its grandiose emotions, dominated as the play is by Leontes’ obsessively articulated, over-intellectualized jealousy, would invite operatic adaptation.
Today, Wexford Festival Opera announced the programme and principal casting details for the forthcoming 2017 festival. Now in its 66th year, this internationally renowned festival will run over an extended 18-day period, from Thursday, 19 October to Sunday, 5 November.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
Gustav Mahler and fin-de-siècle Vienna will be the focus of the Oxford Lieder Festival (13-28 October 2017), exploring his influences, contemporaries and legacy. Mahler was a dominant musical personality: composer and preeminent conductor, steeped in tradition but a champion of the new. During this Festival, his complete songs with piano will be heard, inviting a fresh look at this ’symphonic’ composer and the enduring place of song in the musical landscape.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
Garsington has become a distinctive part of the English summer opera season.
It was founded by Leonard Ingrams, who began hosting operas nearly 20 years ago at his home, Garsington Manor in Oxfordshire. Tragically he died, only in his 60’s, in 2005, but the festival continues, moving next year to new surroundings at Wormsley Park, owned by Mark Getty. Ingrams was specially fond of Rossini, so this performance of Rossini’s Armida was a tribute to him, and to his artistic vision.
The Metropolitan Opera in New York did Rossini’s Armida earlier this Spring. This Garsington Armida was completely different, but by no means the lesser experience. At the Met, Armida was a vehicle for Renée Fleming, designed to showcase her coloratura talents. At Garsington, the emphasis was on Rossini, and on the dramatic heart of the opera.
The theatre at Garsington is tiny, capacity only 517, smaller than the 1500 seat Real Teatro di San Carlo but this is not necessarily a disadvantage, as Armida is almost more baroque than bel canto. David Parry has conducted no fewer than 7 Rossini operas at Garsington (one planned for next year). He’s currently Artistic Director at Opera Rara, so he’s attuned to period performance. Some of the musicians in this orchestra have been with Garsington since its formal inception.
Parry emphasized the inherent purity of Rossini’s orchestration. It’s carefully structured, clean, built on almost symmetrical foundations, from which extravagant flourishes can take flight. Indeed, images of M C Escher’s drawings came to mind. Escher’s flights of stairs and archways resemble Rossini’s musical architecture. The vocal parts soar, run after run, pushing the scales to ever greater heights.Sudden leaps and decelerations creating a strong sense of movement. Parry kept the lines clear and uncluttered, revealing the clarity of Rossini’s ideas, which seem to reference Handel and Gluck.
The production takes its cue from the musical logic.A well known critic described the Act One set with its row of chrome and leather chairs as “Ikea”, the Swedish design warehouse. And why not? The principle behind Swedish design is a fusion of function and classic elegance, an apt metaphor for Rossini’s style in Armida.
The theatre at Garsington is temporary, but solid enough to withstand inclement weather. Designer Ashley Martin-Davis brings the struts and metal framework into the opera, by simply painting them red and black. It’s an intelligent comment on the action, for this Act takes place in the camp of the Crusaders (also tented, like Garsington, one presumes).
Nicholas Watts as Eustazio and Bogdan Mihai as Goffredo [Photo by Johan Persson courtesy of Garsington Opera]
The Franks (and Italian Rinaldo) belong to a military order with semi-religious vows, but Rossini very deliberately doesn’t identify them with the Knights Templar. Torquato Tasso’s original poem, on which the narrative is based, dates from 1580. but connects to traditions that long predate the Middle Ages. In painting, the protagonists are usually depicted as idealized Greeks or Romans. In any case, Armida is a fantasy, for Armida is a sorceress who can use magic. Audiences in Rossini’s time had no delusions that the opera was “historic”. Indeed, the idea of priests succumbing to temptresses would have been only too obvious, and Rossini couldn’t risk offending the all-powerful Church.
Military orders are highly disciplined, and these paladins have vowed to repress love and earthly pleasures. Martin Duncan has the men move in orderly procession. They troop up parallel flights of stairs — the structured music, the Escher ideas, coming together beautifully. They’re ascetically garbed in black, reinforcing the idea of an austere sect. The costumes, stark as they are, are beautiful — elegant and simplicity again.
Armida is justly famed because it affords glorious coloratura display. But it’s important not to forget the context. Armida and Idraote and Goffredo’s Knights are polar opposites. The opera pivots on the dichotomy between love and duty, pleasure and higher ideals. Indeed, Armida’s singing shines all the more brightly when the context is given due respect. Armida’s luminous gardens wouldn’t be so tempting if they weren’t such a contrast to life in the regiment.
A small, temporary festival like Garsington does not do megastars, so it’s pointless to compare Jessica Pratt’s Armida with Renée Fleming or Maria Callas. Instead, she brings youthful energy to the part. If her ornamentations aren’t too flamboyant, she reaches the high peaks in the score, and acts well with her voice. She comes over as a warm hearted spirit, so when Rinaldo leaves her, you sympathize with her pain. In Dove son io? she finds the different stages of emotion. It’s not all piercing frenzy, but gradations of feeling.
Because the balance in this production isn’t entirely one-sided, the male parts take greater prominence. Victor Ryan Robertson sings Rinaldo with pluck. He brought a sense of wonder to his Dove son io!, a deft parallel to Armida’s final aria. The contrast between “hero” Rinaldo who kills for honour and “lover” Rinaldo, conquered by sensuality, was clear.
For such a young singer, Bogdan Mihai’s Goffredo had vocal authority and physical presence. Nice richness to his voice which will serve him well. He doubled as Carlo with David Alegret singing Gernando and Ubaldo. Alegret paced the long Gernando recitatives carefully, so the sudden explosions up the scale at the end of long phrases were very effective.
The Knot Garden [Photo courtesy of Garsington Opera]
Christophorus Stamboglis singing Idraote and Astarotte was impressive too. His voice has character, so it was almost a pity the parts weren’t large enough to show his full measure. Nicholas Watts sang a nice Eustazio.
Naturally, or rather supernaturally, Armida’s gardens in Acts 2 and 3 were vividly coloured. Now the male chorus appeared as blue-painted demons, hiding behind the infrastructure of beams that evoked both forest and ocean. When the nymphs appeared the audience gasped in delight. They were stunning, pale pink top to toe with glittery skirts, moving like exotic flowers. The choreography was simple, more group movement than dancing, but it supported the singing, rather than distracting from it. Gradually the male figures emerged from hiding and embraced the nymphs chastely. The choruses re-enacted Rinaldo and Armida’s relationship. It was another sign that this production developed from an understanding of the music and the opera.
Those who know the gardens at Garsington will be familiar with the strangely twisted topiary trees in the parterre garden the theatre opens onto. As we filtered out after the performance, the garden was lit with emerald light, the more famous large shrubs picked out in mauve. It was unearthly, as though we were experiencing Armida’s garden for ourselves. Imagine Garsington staging Tannhäuser ! That is part of the magic that is Garsington, where stage and reality interact.
This production, though, could easily be transported to another theatre. Indeed, any theatre suited to chamber opera. It’s much too good to be missed. Perhaps Garsington might consider joint ventures? In the long term that might be a way forward.
Performances run from 5th to 29th June 2010. For more details, please see www.garsingtonopera.org