Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Eugene Onegin at Seattle

Passion! Pain! Poetry! (but hold the irony . . .)

Unusual and beautiful: Mirga Gražinytė-Tyla conducts the music of Raminta Šerkšnytė

Mirga Gražinytė-Tyla conducts the music of Raminta Šerkšnytė with the Kremerata Baltica, in this new release from Deutsche Grammophon.

Pow! Zap! Zowie! Wowie! -or- Arthur, King of Long Beach

If you might have thought a late 17thcentury semi-opera about a somewhat precious fairy tale monarch might not be your cup of twee, Long Beach Opera cogently challenges you to think again.

Philippe Jaroussky and Jérôme Ducros perform Schubert at Wigmore Hall

How do you like your Schubert? Let me count the ways …

Crebassa and Say: Impressionism and Power at Wigmore Hall

On paper this seemed a fascinating recital, but as I was traveling to the Wigmore Hall it occurred to me this might be a clash of two great artists. Both Marianne Crebassa and Fazil Say can be mercurial performers and both can bring such unique creativity to what they do one thought they might simply diverge. In the event, what happened was quite remarkable.

'Songs of Longing and Exile': Stile Antico at LSO St Luke's

Baroque at the Edge describes itself as the ‘no rules’ Baroque festival. It invites ‘leading musicians from all backgrounds to take the music of the Baroque and see where it leads them’.

Richard Jones' La bohème returns to Covent Garden

Richard Jones' production of Puccini's La bohème is back at the Royal Opera House, Covent Garden after its debut in 2017/18. The opening night, 10th January 2020, featured the first of two casts though soprano Sonya Yoncheva, who was due to sing Mimì, had to drop out owing to illness, and was replaced at short notice by Simona Mihai who had sung the role in the original run and is due to sing Musetta later in this run.

Diana Damrau sings Richard Strauss’s Vier letzte Lieder on Erato

“How weary we are of wandering/Is this perhaps death?” These closing words of ‘Im Abendrot’, the last of Richard Strauss’s Vier letzte Lieder, and the composer’s own valedictory work, now seem unusually poignant since they stand as an epitaph to Mariss Jansons’s final Strauss recording.

Vaughan Williams Symphonies 3 & 4 from Hyperion

Latest in the highly acclaimed Hyperion series of Ralph Vaughan Williams symphonies, Symphonies no 3 and 4, with Martyn Brabbins and the BBC Symphony Orchestra, recorded in late 2018 after a series of live performances.

Don Giovanni at Lyric Opera of Chicago

Mozart’s Don Giovanni returned to Lyric Opera of Chicago in the Robert Falls updating of the opera to the 1930s. The universality of Mozart’s score proves its adaptability to manifold settings, and this production featured several outstanding, individual performances.

Britten and Dowland: lutes, losses and laments at Wigmore Hall

'Of chord and cassiawood is the lute compounded;/ Within it lie ancient melodies'.

Tara Erraught sings Loewe, Mahler and Hamilton Harty at Wigmore Hall

During those ‘in-between’ days following Christmas and before New Year, the capital’s cultural institutions continue to offer fare both festive and more formal.

Bach’s Christmas Oratorio with the Thomanerchor and Gewandhausorchester Leipzig

This Accentus release of J.S. Bach’s Christmas Oratorio, recorded live on 15/16th December 2018 at St. Thomas’s Church Leipzig, takes the listener ‘back to Bach’, so to speak.

Retrospect Opera's new recording of Ethel Smyth's Fête Galante

Writing in April 1923 in The Bookman, of which he was editor, about Ethel Smyth’s The Boatswain’s Mate (1913-14) - the most frequently performed of the composer’s own operas during her lifetime - Rodney Bennett reflected on the principal reasons for the general neglect of Smyth’s music in her native land.

A compelling new recording of Bruckner's early Requiem

The death of his friend and mentor Franz Seiler, notary at the St Florian monastery to which he had returned as a teaching assistant in 1845, was the immediate circumstance which led the 24-year-old Anton Bruckner to compose his first large-scale sacred work: the Requiem in D minor for soloists, choir, organ continuo and orchestra, which he completed on 14th March 1849.

Prayer of the Heart: Gesualdo Six and the Brodsky Quartet

Robust carol-singing, reindeer-related muzak tinkling through department stores, and light-hearted festive-fare offered by the nation’s choral societies may dominate the musical agenda during the month of December, but at Kings Place on Friday evening Gesualdo Six and the Brodsky Quartet eschewed babes-in-mangers and ding-donging carillons for an altogether more sedate and spiritual ninety minutes of reflection and ‘musical prayer’.

The New Season at the New National Theatre, Tokyo

Professional opera in Japan is roughly a century old. When the Italian director and choreographer Giovanni Vittorio Rosi (1867-1940) mounted a production of Cavalleria Rusticana in Italian in Tokyo in 1917, with Japanese singers, he brought a period of timid experimentation and occasional student performances to an end.

Handel's Messiah at the Royal Albert Hall

For those of us who live in a metropolitan bubble, where performances of Handel's Messiah by small professional ensembles are common, it is easy to forget that for many people, Handel's masterpiece remains a large-scale choral work. My own experiences of Messiah include singing the work in a choir of 150 at the Royal Albert Hall, and the venue's tradition of performing the work annually dates back to the 19th century.

What to Make of Tosca at La Scala

La Scala’s season opened last week with Tosca. This was perhaps the preeminent event in Italian cultural and social life: paparazzi swarmed politicians, industrialists, celebrities and personalities, while almost three million Italians watched a live broadcast on RAI 1. Milan was still buzzing nine days later, when I attended the third performance of the run.

La traviata at Covent Garden: Bassenz’s triumphant Violetta in Eyre’s timeless production

There is a very good reason why Covent Garden has stuck with Richard Eyre’s 25-year old production of La traviata. Like Zeffirelli’s Tosca, it comes across as timeless whilst being precisely of its time; a quarter of a century has hardly faded its allure, nor dented its narrative clarity. All it really needs is a Violetta to sweep us off our feet, and that we got with Hrachuhi Bassenz.

OPERA TODAY ARCHIVES »

Reviews

William Purefoy as Xerxes [Photo courtesy of Iford Opera]
12 Jul 2010

Handel’s Serse (Xerxes) at Iford Manor

Something rather extraordinary happened to opera seria in 1738. The acknowledged master of that time, London’s George Frideric Handel, presented two new operas at the King’s Theatre: Faramondo and Serse.

G. F. Handel: Serse

Xerxes: William Purefoy; Arsamene: Andrew Radley; Amastre: Kristin Finnigan; Romilda: Verity Parker; Atalanta: Kristy Swift; Elviro: William Townend; Ariodate: Jonathan Brown. Orchestra: La Nuova Musica, directed/conducted by David Bates. Director: David Freeman. Designer: Louie Whitemore.

Above: William Purefoy as Xerxes [Photo courtesy of Iford Opera]

 

They were stylistically very different and with the latter the German-born composer threw caution to the winds both musically and dramatically.

It was a bad call at the time as Serse flopped completely. The trouble was that he dared to change a tried and tested formula: the wholly serious, or tragic, seria format was infiltrated by comic or buffo elements; he mixed characters of both high and low class within the drama, and he even tinkered with the classic A-B-A da capo form of the arias. In Serse much of the vocal music is in arioso form, which drives the action forward more than the traditional, more musically complex da capo format. All this was too much for London audiences at the time and Handel lost money and soon after abandoned opera for the oratorio form. Luckily for us, today we can appreciate his innovations and revel in them — as indeed did the audience at Iford Opera in Wiltshire last Friday night.

Iford-2010_-Andrew-Radley--.gifAndrew Radley as Arsamene [Photo courtesy of Iford Opera]

Once again, Iford Arts is to be congratulated for rising so magnificently above the apparent limitations of its charming venue — one could indeed argue that those very limitations of size and accessibility produce something special time and again and last night was no exception. Iford encourages young talent and in its regular offerings of Handel masterpieces in intimate surroundings it also encourages the singers to concentrate on expression and colour, as they do not need to worry about pushing their voices.

The usual convoluted Handel plot of misplaced affections, thwarted plans, ladies (and men) in disguise and the triumph of love and duty (in varying degrees) was efficiently translated into the tiny, greenery-draped colonnaded space that is the delightful Iford Cloister by director David Freeman. Although advertised as “Serse”, the opera was given in English and this “Xerxes” was a translation/edit by Andrew Jones which revived memories of the famous Hytner production of the 1980’s in its language, if not its staging. The lively score, regretfully drastically abridged, was offered in spicy miniature by the well-regarded players of La Nuova Musica directed from the harpsicord by David Bates who encouraged some really meaty, full-blooded playing from his 10 piece ensemble. In Acts I and II the cast were somewhat depressingly attired in budget-store casuals with a bit of sequin tat here and there to suggest royalty (one felt particularly for the female singers who suffered very unflattering wardrobes — surely at odds with the story?) but come Act III things improved a little. A few pyrotechnics, many tiny candles, and a clever exploding model bridge (to take King Xerxes across the Hellespont into Greece) made the most of the tiny stage area.

KristinFinnigan-_-Photo-Ral.gifKristin Finnigan [Photo by and courtesy of Ralph Ripley]

More importantly, there was much to admire vocally with some excellent singing from the young cast, many of whom are at the beginning of their careers yet showed remarkable histrionic as well as musical abilities in this most demanding of genres. There was no one outstanding performer, but we left with perhaps three strong memories: the exciting contralto voice of young Kristin Finnigan (Amastre) which promises to help revive the great tradition of this most English of voice types, the impressive comic timing and agile baritone of William Townend (Elviro) and the expressive warm-toned countertenor of Andrew Radley (Arsamene). Verity Parker impressed with some spot-on high coloratura as Romilda whilst also singing with some nice supple tone. She was contrasted effectively with Kristy Swift in the soubrette role of Atalanta who brought out the foxiness of this character with some sparkling high notes and agile phrasing. Rather unusually, this production gave the title role to a countertenor, the more experienced William Purefoy. These days, it’s more often a mezzo soprano role (although written by Handel for a soprano castrato of great renown, Caffarelli) but here at Iford the tiny stage and proximity of the audience enables the less powerful countertenor voice to take it on. Purefoy coped well enough with the high tessitura of this demanding role, if not convincing us dramatically. His was no dangerously vindictive King but rather a placid, slightly academic, royal. This was particularly so in the scenes with his stage brother Prince Arsamenes, when Radley acted for both of them. Purefoy is certainly a good singer (his “rage” aria, Crudie furie in Act III was efficiently despatched despite its huge demands on the singer) but rather miscast here.

The role of the bluff, if dim, General Ariodate was robustly taken by baritone Jonathan Brown who made much of his limited role whilst contralto Kristin Finnigan was forced to do the same. How one longed to hear more of Amastre’s music and less of her creeping around the cloister, forever listening to the plotting of others’ loves. Finnigan might just be something special in the making — directors take note.

Cutting Handel is a fact of life — unpleasant but sometimes necessary — but for this writer there were just too many “cuts too far”. So many important, and lovely, arias went unheard. Everyone comes to Iford by car (there is no evening public transport in this idyllic rural location) so why not revel in more of Handel’s sublime music and get home half an hour later? After all, another thirty minutes in this beautiful place, with music of this quality, is hardly an imposition.

© Sue Loder 2010

Serse, by G.F. Handel continues on the 13th, 14th, 16th and 17th July at Iford, near Bradford on Avon, Wiltshire, U.K. More information: www.ifordarts.co.uk

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):