Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Britten War Requiem - Andris Nelsons, CBSO, BBC Prom 47

In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.

Il barbiere di Siviglia in Pesaro

Both by default and by merit Il barbiere di Siviglia is the hit of the thirty-fifth Rossini Opera Festival. But did anyone really want, and did the world really need yet another production of this old warhorse?

Armida in Pesaro

Armida (1817) is the third of Rossini’s nine operas for the Teatro San Carlo in Naples, all serious. The first was Elisabetta, regina di Inghilterra (1815), the second was Otello (1816), the last was Zelmira (1822).

Santa Fe Opera Presents an Imaginative Carmen

Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.

Elgar Sea Pictures : Alice Coote, Mark Elder Prom 31

Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.

Berio Sinfonia, Shostakovich, BBC Proms

Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.

Four countertenors : Handel Rinaldo Glyndebourne

Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.

Santa Fe Opera Presents The Impresario and Le Rossignol

On August 7, 2014, the Santa Fe Opera presented a double bill of Wolfgang Amadeus Mozart’s The Impresario and Igor Stravinsky’s Le Rossignol (The Nightingale). The Impresario deals with the casting of an opera and Le Rossignol tells the well-known fairy tale about the plain gray bird with an exquisite song.

Barber in the Beehive State

Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.

Stravinsky : Oedipus Rex, BBC Proms

In typical Proms fashion, BBC Prom 28 saw Stravinsky's Oedipus Rex performed in an eclectic programme which started with Beethoven's Egmont Overture and also featured Electric Preludes by the contemporary Australian composer Brett Dean. Sakari Oramo,was making the first of his Proms appearances this year, conducting the BBC Symphony Orchestra, BBC Singers and BBC Symphony Chorus.

Santa Fe Opera Presents a Passionate Fidelio

Santa Fe Opera presented Beethoven’s Fidelio for the first time in 2014. Since the sides of the opera house are open, the audience watched the sun redden the low hanging clouds and set below the Sangre de Cristo mountains while Chief Conductor Harry Bicket led the Santa Fe Opera Orchestra in the rousing overture. At the same time, Alex Penda as the title character readied herself for the ordeal to come as she endeavored to rescue her unjustly imprisoned husband.

Die Entführung aus dem Serail @ Hangar-7

We see the characters first in two boxes at an opera house. The five singers share a box and stare at the stage. But Konstanze’s eye is caught by a man in a box opposite: Bassa Selim (actor Tobias Moretti), who stares steadily at her and broods in voiceover at having lost her, his inspiration.

Rameau Grand Motets, BBC Proms

Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17.

Adriana Lecouvreur, Opera Holland Park

Twelve years after Opera Holland Park's first production of Francesco Cilea’s Adriana Lecouvreur, the opera made a welcome return.

Back to the Beginnings: Monteverdi’s Il ritorno d’Ulisse in patria at Iford Opera.

The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre.

Schoenberg : Moses und Aron, Welsh National Opera, London

Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission.

Count Ory, Dead Man Walking
and La traviata in Des Moines

If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.

Janáček’s Glagolitic Mass, BBC Proms

Composed during just a few weeks of the summer of 1926, Janáček’s Slavonic-text Glagolitic Mass was first performed in Brno in December 1927.

Donizetti and Mozart, Jette Parker Young Artists Royal Opera House, London

With the conclusion of the ROH 2013-14 season on Saturday evening - John Copley’s 40-year old production of La Bohème bringing down the summer curtain - the sun pouring through the gleaming windows of the Floral Hall was a welcome invitation to enjoy a final treat. The Jette Parker Young Artists Summer Showcase offered singers whom we have admired in minor and supporting roles during the past year the opportunity to step into the spotlight.

Glyndebourne's Strauss Der Rosenkavalier, BBC Proms

Many words have already been spent - not all of them on musical matters - on Richard Jones’s Glyndebourne production of Der Rosenkavalier, which last night was transported to the Royal Albert Hall. This was the first time at the Proms that Richard Strauss’s most popular opera had been heard in its entirety and, despite losing two of its principals in transit from Sussex to SW1, this semi-staged performance offered little to fault and much to admire.

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):