10 Jun 2010
Musically Astute Armida, Garsington
Garsington has become a distinctive part of the English summer opera season.
Four lonely people, bound by love and fate, with inexpressible feelings that boil over in the pressure cooker of war. Àlex Ollé’s conception of Il Trovatore for Dutch National Opera hits the bull’s eye.
This may be the twelfth revival of Jonathan Miller’s 1987 production of Rossini’s The Barber of Seville for English National Opera, but the ready laughter from the auditorium and the fresh musical and dramatic responses from the stage suggest that it will continue to amuse audiences and serve the house well for some time to come.
The third and final instalment of the Academy of Ancient Music’s survey of Monteverdi’s operas at the Barbican began and ended in darkness; the red glow of the single candle was an apt visual frame for a performance which was dedicated to the memory of the late Andrew Porter, the music critic and writer whose learned, pertinent and eloquent words did so much to restore Monteverdi, Cavalli and other neglected music-dramatists to the operatic stage.
English Touring Opera’s recent programming has been ambitious and inventive, and the results have been rewarding. We had two little-known Donizetti operas, The Siege of Calais and The Wild Man of the West Indies, in spring 2015, while autumn 2014 saw the company stage comedy by Haydn (Il mondo della luna) and romantic history by Handel (Ottone).
Sounds swirl with an urgent emotionality and meandering virtuosity on Jonas Kaufmann’s new Puccini album—the “real one”, according to Kaufmann, whose works were also released earlier this year on Decca records, allegedly without his approval.
LA Opera got its season off to an auspicious beginning with starry revivals of Gianni Schicchi and Pagliacci.
On September 9, 2015, Opera Las Vegas presented James Sohre’s production of Viva Verdi at the Smith Center’s Cabaret Jazz. It was a delightful evening of arias, duets and ensembles by Giuseppe Verdi (1813-1901). The program included many of the composer’s blockbuster arias and scenes from famous operas such as Aida, La traviata, and Macbeth.
On Saturday, September 19, San Diego Opera opened its 2015-2016 season with a recital by tenor René Barbera. This was the first Polly Puterbaugh Emerging Artist Award Recital and no artist could have been more deserving than the immensely talented Barbera.
The Wigmore Hall, London, has launched Schubert : The Complete Songs, a 40-concert series to run through the 2015 and 2016 seasons. There have been Schubert marathons before, like BBC Radio 3's all-Schubert week and The Oxford Lieder Festival's Schubert series last year, but the Wigmore Hall series will be a major landmark because the Wigmore Hall is the Wigmore Hall, the epitome of excellence.
Marion Cotillard and Marc Soustrot bring the drama to the sweeping score of Arthur Honegger’s Jeanne d’Arc au bûcher, an adaptation of the Trial of Joan of Arc
Luisa Miller sits on the fringes of the repertory, and since its introduction into the modern repertory in the 1970’s it comes around every 15 or so years. Unfortunately this 2015 San Francisco occasion has not bothered to rethink this remarkable opera.
Demonised by Pushkin and Peter Shaffer, Antonio Salieri lives in the public imagination as the embittered rival of Wolfgang Amadeus Mozart — whose genius he lamented and revered in equal measure, and against whom he schemed and plotted at the Emperor Joseph II’s Viennese court.
The annual concert given by Lyric Opera of Chicago as an outdoor event previewing the forthcoming season took place on 11 September 2015 at Millennium Park.
Stephen Paulus provided the musical world, and particularly the choral world, with music both provocative and pleasing through a combination of lyricism and a modern-Romantic tonal palette.
Orpheus — that Greek hero whose songs could enchant both deities and beasts, whose lyre has become a metaphor for the power of music itself, and whose journey to the Underworld to rescue his wife, Eurydice, kick-started the art of opera in Mantua in 1607 — has been travelling far and wide around the UK in 2015.
One is a quasi-verbatim rendering of J.M. Synge’s bleak tale of a Donegal family’s fateful dependency on and submission to the deathly power of the sea.
Is there anything that countertenor Iestyn Davies cannot do with his voice?
BBC Proms Youth Choir shines in a performance notable for its magical transparency
The John Wilson Orchestra have been annual summer visitors to the Royal Albert Hall since their Proms debut in 2009 and, with their seductive blend of technical precision, buoyant glitziness and relaxed insouciance, their concerts have become a hugely anticipated fixture and a sure highlight of the Promenade season.
Disappointing staging mars Alice Coote’s vibrant if wayward musical performance
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