Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Collision: Spectra Ensemble at the Arcola Theatre

‘Asteroid flyby in October: A drill for the end of the world?’ So shouted a headline in USA Today earlier this month, as journalist Doyle Rice asked, ‘Are we ready for an asteroid impact?’ in his report that in October NASA will conduct a drill to see how well its planetary defence system would work if an actual asteroid were heading straight for Earth.

Joshua Bell offers Hispanic headiness at the Proms

At the start of the 20th century, French composers seemed to be conducting a cultural love affair with Spain, an affair initiated by the Universal Exposition of 1889 where the twenty-five-year old Debussy and the fourteen-year-old Ravel had the opportunity to hear new sounds from East Asia, such as the Javanese gamelan, alongside gypsy flamenco from Granada.

John Joubert's Jane Eyre

Librettists have long mined the literature shelves for narratives that are ripe for musico-dramatic embodiment. On the whole, it’s the short stories and poems - The Turn of the Screw, Eugene Onegin or Death in Venice, for example - that best lend themselves to operatic adaptation.

Hibiki: a European premiere by Mark-Anthony Turnage at the Proms

Hibiki: sound, noise, echo, reverberation, harmony. Commissioned by the Suntory Hall in Tokyo to celebrate the Hall’s 30th anniversary in 2016, Mark-Anthony Turnage’s 50-minute Hibiki, for two female soloists, children’s chorus and large orchestra, purports to reflect on the ‘human reverberations’ of the Tohoku earthquake in 2011 and the devastation caused by the subsequent tsunami and radioactive disaster.

Through Life and Love: Louise Alder sings Strauss

Soprano Louise Alder has had an eventful few months. Declared ‘Young Singer of the Year’ at the 2017 International Opera Awards in May, the following month she won the Dame Joan Sutherland Audience Prize at the BBC Cardiff Singer of the World.

Janáček: The Diary of One Who Disappeared, Grimeborn

A great performance of Janáček’s song cycle The Diary of One Who Disappeared can be, allowing for the casting of a superb tenor, an experience on a par with Schoenberg’s Erwartung. That Shadwell Opera’s minimalist, but powerful, staging in the intimate setting of Studio 2 of the Arcola Theatre was a triumph was in no small measure to the magnificent singing of the tenor, Sam Furness.

Khovanshchina: Mussorgsky at the Proms

Remembering the centenary of the Russian Revolution, this Proms performance of Mussorgsky’s mighty Khovanshchina (all four and a quarter hours of it) exceeded all expectations on a musical level. And, while the trademark doorstop Proms opera programme duly arrived containing full text and translation, one should celebrate the fact that - finally - we had surtitles on several screens.

Santa Fe: Entertaining If Not Exactly (R)evolutionary

You know what I loved best about Santa Fe Opera’s world premiere The (R)evolution of Steve Jobs?

Longborough Young Artists in London: Gluck's Orfeo ed Euridice

For the last three years, Longborough Festival Opera’s repertoire of choice for their Young Artist Programme productions has been Baroque opera seria, more specifically Handel, with last year’s Alcina succeeding Rinaldo in 2014 and Xerxes in 2015.

A Master Baritone in Recital: Sesto Bruscantini, 1981

This is the only disc ever devoted to the art of Sesto Bruscantini (1919–2003). Record collectors value his performance of major baritone roles, especially comic but also serious ones, on many complete opera recordings, such as Il barbiere di Siviglia (with Victoria de los Angeles). He continued to perform at major houses until at least 1985 and even recorded Mozart's Don Alfonso in 1991, when he was 72.

Emalie Savoy: A Portrait

Since 1952, the ARD—the organization of German radio stations—has run an annual competition for young musicians. Winners have included Jessye Norman, Maurice André, Heinz Holliger, and Mitsuko Uchida. Starting in 2015, the CD firm GENUIN has offered, as a separate award, the chance for one of the prize winners to make a CD that can serve as a kind of calling card to the larger musical and music-loving world. In 2016, the second such CD award was given to the Aris Quartett (second-prize winner in the “string quartet” category).

Full-throated Cockerel at Santa Fe

A tale of a lazy, befuddled world leader that ‘has no clothes on’ and his two dimwit sons, hmmmm, what does that remind me of. . .?

Santa Fe’s Trippy Handel

If you don’t like a given moment in Santa Fe Opera’s staging of Alcina, well, just like the volatile mountain weather, wait two minutes and it will surely change.

Santa Fe’s Crowd-Pleasing Strauss

With Die Fledermaus’ thrice familiar overture still lingering in our ears, it didn’t take long for the assault of hijinks to reduce the audience into guffaws of delight.

Santa Fe: Mad for Lucia

If there is any practitioner currently singing the punishing title role of Lucia di Lammermoor better than Brenda Rae, I am hard-pressed to name her.

Janáček's The Cunning Little Vixen at Grimeborn

Janáček’s The Cunning Little Vixen can be a difficult opera to stage, despite its charm and simplicity. In part it is a good, old-fashioned morality tale about the relationships between humans and animals, and between themselves, but Janáček doesn’t use a sledgehammer to make this point. It is easy for many productions to fall into parody, and many have done, and it is a tribute to The Opera Company’s staging of this work at the Arcola Theatre that they narrowly avoided this pitfall.

Handel's Israel in Egypt at the Proms: William Christie and the OAE

For all its extreme popularity with choirs, Handel’s oratorio Israel in Egypt is a somewhat problematic work; the scarcity of solos makes hiring professional soloists an extravagant expense, and the standard version of the work starts oddly with a tenor recitative. If we return to the work's history then these issues are put into context, and this is what William Christie did for the performance of Handel’s Israel in Egypt at the BBC Proms at the Royal Albert Hall on Tuesday 1 August 2017.

Sirens and Scheherazade: Prom 18

From Monteverdi’s Il ritorno d'Ulisse in patria, to Bruch’s choral-orchestral Odysseus, to Fauré’s Penelope, countless compositions have taken their inspiration from Homer’s Odyssey, perhaps not surprisingly given Homer’s emphasis on the power of music in the Greek world.

Discovering Gounod’s Cinq Mars: Another Rarity Success for Oper Leipzig

Oper Leipzig usually receives less international attention than its Dresden, Munich or Berlin counterparts; however, with its fabulous Gewandhaus Orchestra, and its penchant for opera rarities (and a new Ring Cycle), this quality hotspot will be attracting more and more opera lovers. Leipzig’s new production of Gounod’s Cinq Mars continues this high quality tradition.

Detlev Glanert : Requiem for Hieronymus Bosch

Detlev Glanert's Requiem for Hieronymus Bosch should be a huge hit. Just as Carl Orff's Carmina Burana appeals to audiences who don't listen to early music (or even to much classical music), Glanert's Requiem for Hieronymus Bosch has all the elements for instant popular success.

OPERA TODAY ARCHIVES »

Reviews

Claire Booth (lying) and Susan Bickley (standing) [Photo by Alaistair Muir courtesy of The Royal Opera]
26 Jul 2010

George Benjamin: Into the Little Hill, Linbury, London

George Benjamin is the leading British composer of his generation. Into the Little Hill premiered in 2006, has been acclaimed a masterpiece.

George Benjamin: Into the Little Hill

The Royal Opera

Above: Claire Booth (lying) and Susan Bickley (standing) [Photo by Alaistair Muir courtesy of The Royal Opera]

 

This revival, at the Linbury Studio Theatre at the Royal Opera House, London, confirmed its place as a cornerstone of modern British repertoire.

It’s very loosely based on the fairy tale of the Pied Piper of Hamelin, where a conformist community rat on the piper who rids them of vermin. So he takes their children into a “little hill”. The one act opera is disturbing because it treats the story as nightmare.

Into the Little Hill operates on many different levels at once. There’s a political element.The mob violently demand the extermination of all rats, and the Minister sells his principles for votes. There’s a suggestion that the rats aren’t rats but other humans. As the Child says, they wear clothes and carry suitcases — an echo of the Holocaust? There’s social commentary, and the spectre of child abduction, all the more disturbing as the father is implicated.

Nightmares are powerful because they reveal themselves through portents, subliminally working on the subconscious. This is a work that defies classification. Quite likely Benjamin and his librettist Martin Crimp can’t explain its full portent, because it operates on the unconscious, on a subliminal level which cold logic cannot reach. That’s why it’s endlessly intriguing. Perhaps the way to get into Into the Little Hill is to let your intuition lead you.

The Minister’s Child appears to her mother in a chink of light.”Come home” says the mother. No, says the child, “Our home is under the earth. With the angel under the earth” What can that mean, no-one knows. But as the child says “The deeper we burrow, the brighter his music burns”. “Can’t you see?” cries the child. The child sees, because it doesn’t carry the millstone of received wisdom.

Into the Little Hill operates like a half-remembered dream, flotsam flowing out of the unconscious, to be processed in the listeners mind. Rats invade the town, eating grain and concrete, destroying the foundations of social order, Later, the children disappear into the bowels of the earth. “We’re burrowing” sings the child, “streams of hot metal, ribbons of magnesium, particles of light”.

A “man with no eyes, no nose, no ears” materializes in the Minister’s little daughter’s bedroom. He invades the sanctuary, mysteriously, disturbingly.. He is powerful because he can breach all defences, even the Minister’s office. “With music I can reach right in /march slaves to the factory/ or patiently unravel the clouds” Sinister as he is, he’s morally neutral — “The choice is yours” he says to the Minister.

The whole opera pivots on ideas of dissimulation, concealment, crawling into dark recesses. Nothing is safe. So the music here is cloaked in disguise. You hear something eerie, or harps or bells. Sure enough, there’s a cimbalom right in the heart of the orchestra. You hear something tense, tinny and shrill: it’s a banjo, and conventional strings being played like banjos, strings plucked high up the shaft, not bowed. Much emphasis on low-toned instruments like bass flute and bass clarinet, whose sensuous, seductive themes weave through the piece like a narcotic night-blooming flower.

Susan Bickley and Claire Booth sing. The parts aren’t defined, as such. Their voices interchange, with each other and with the “voices” in the orchestra, adding to the unsettling, dream-like effect. Bickley and Booth are the foremost interpreters of modern music in this country. They are superb. Good as the recording on Nimbus is, the singers there don’t come close to Bickley and Booth, who have lived this piece for some time. If Bickley, Booth and the London Sinfonietta record this, their version will be the one to get.

Their expertise matters, because this singing has to be approached with an almost intuitive understanding of how the vocal parts interact with the music. Both are attuned to the inner logic of the piece, so the ever-changing balance flows seamlessly. Although the text is conversational, the syntax is surreal. At several points, Booth has to “sing” at such a high pitch she’s almost inaudible. It takes physical effort. She braces herself, so as not to strain her voice beyond the limits. Humans might not hear such pitches, but rats can.

The staging, by The Opera Group, (director, John Fulljames), fits the music and the semi-narrative. The Man with no Face operates through music : the London Sinfonietta play on stage, behind a gauze curtain, vaguely visible behind the action, very much part of the concept as the orchestra is so important in this opera. The stage is dominated by a huge circular frame. “I can make rats drop from the rim of the world” says the man with no eyes. “But the world, says the minister, is round”. “The world — says the man — is the shape my music makes it.”

recital-104.pngSusan Bickley [Photo by Robert Workman]

The floor is scattered with black, soft objects. When I attended the performance at Aldeburgh in June, I was close enough to touch and smell the acrid stench of rubber. It’s a striking extra dimension. By the time the production reached London the smell was almost gone. It was less oppressive, but gone too was the extra element of menace. Like music, smell can’t be seen but it operates on the mind.

Into the Little Hill was preceded by Luciano Berio’s Recital 1, It’s a tour de force, testing a singer’s full range. It’s a stream of consciousness monologue. Susan Bickley was magnificent, singing for nearly 45 minutes. Snatches of Lieder and Opera rise to the surface, receding as her mind moves on to other things. It’s tragic, for the singer is desolate, looking back on a lifetime of loneliness.

Since Berio wrote it for Cathy Berberian long after their marriage ended, it’s bittersweet, but also strangely affectionate. The interplay between singer and orchestra reflects the interplay between composer and muse. Many in-jokes, such as when Bickley sings “A composer is socially embarrassing when he tries to speak”. But that’s the whole point, for Berio speaks through the orchestration, The piece is an elaborate puzzle-game, tightly scored with intricate key changes and modulations.

Berio plays with illusion. At one stage, members of the orchestra emerge to share space with Bickley. They start to play, but the sounds are grotesquely distorted. Then they exchange instruments. What do these musicians normally play? This was the London Sinfonietta, Britain’s best contemporary music orchestra, an ensemble of virtuosi. Berio is having a laugh, for the rest of the piece is so sophisticated that bad players would be completely lost.

Bickley leans towards the audience, trying to get them to respond to her directly. I very nearly did. Berio and Berberian would have been thrilled, for part of the concept behind this piece is the relationship between illusion and reality. “Isn’t all life there?”, declaims Bickley, with a diva-like sweep of her arms.

For more information please see the Royal Opera House site here.

Anne Ozorio

Cast:

George Benjamin: Into the Little Hill (Martin Crimp: libretto)

Susan Bickley, mezzo-soprano; Claire Booth, soprano. London Sinfonietta. Frank Ollu: conductor.

Luciano Berio: Recital 1

Susan Bickley: The Singer; John Constable: The Accompanist; Nina Kate: The Dresser. The Opera Group. John Fulljames: Director. Soutra Gilmour: Set and Costume Designer. Jon Clark: Lighting.

Linbury Studio Theatre, Royal Opera House, London. 23rd July 2010

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):