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Twelve years after Opera Holland Park's first production of Francesco Cilea's Adriana Lecouvreur, the opera made a welcome return.
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. The world of commercial public opera had only just dawned with the opening of the Teatro San Cassiano in Venice in 1637 and for the first time opera became open to all who could afford a ticket, rather than beholden to the patronage of generous princes. Monteverdi took full advantage of the new stage and at the age of 73 brought all his experience of more than 30 years of opera-writing since his ground-breaking L’Orfeo (what a pity we have lost all those works) to the creation of two of his greatest pieces, Ulysses and then his final masterpiece, Poppea.
Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission. It is a sad state of affairs when a season that includes both Boulevard Solitude and Moses und Aron is considered exceptional, but it is - and is all the more so when one contrasts such seriousness of purpose with the endless revivals of La traviata which, Die Frau ohne Schatten notwithstanding, seem to occupy so much of the Royal Opera’s effort. That said, if the Royal Opera has not undertaken what would be only its second ever staging of Schoenberg’s masterpiece - the first and last was in 1965, long before most of us were born! - then at least it has engaged in a very welcome ‘WNO at the Royal Opera House’ relationship, in which we in London shall have the opportunity to see some of the fruits of the more adventurous company’s endeavours.
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.
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. During the rehearsals for the premiere - just 3 for the orchestra and one 3-hour rehearsal for the whole ensemble - the composer made many changes, and such alterations continued so that by the time of the only other performance during Janáček’s lifetime, in Prague in April 1928, many of the instrumental (especially brass) lines had been doubled, complex rhythmic patterns had been ‘ironed-out’ (the Kyrie was originally in 5/4 time), a passage for 3 off-stage clarinets had been cut along with music for 3 sets of pedal timpani, and choral passages were also excised.
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.
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.
The BBC Proms 2014 season began with Sir Edward Elgars The Kingdom (1903-6). It was a good start to the season,which commemorates the start of the First World War. From that perspective Sir Andrew Davis's The Kingdom moved me deeply.
One is unlikely to come across a cast of Figaro principals much better than this today, and the virtues of this performance indeed proved to be primarily vocal.
Assured elegance, care and thoughtfulness characterised tenor James Gilchrist’s performance of Schubert’s Schwanengesang at the Wigmore Hall, the cycles’ two poets framing a compelling interpretation of Beethoven’s An die ferne Geliebte.
‘Music for a while shall all your cares beguile.’ Dryden’s words have never seemed as apt as at the conclusion of this wonderful sequence of improvisations on Purcell’s songs and arias, interspersed with instrumental chaconnes and toccatas, by L’Arpeggiata.
The acoustic of the gigantic Théâtre Antique Romain at Orange cannot but astonish its nine thousand spectators, the nearly one hundred meter breadth of the its proscenium inspires awe. There was excited anticipation for this performance of Verdi’s first masterpiece.
Richard Strauss may be most closely associated with the soprano voice but
this recording of a selection of the composer’s lieder by baritone Thomas
Hampson is a welcome reminder that the rapt lyricism of Strauss’s settings
can be rendered with equal beauty and character by the low male voice.
Opera Theatre of Saint Louis has once again staked claim to being the summer festival “of choice” in the US, not least of all for having mounted another superlative world premiere.
In past years the operas of the Aix Festival that took place in the Grand Théâtre de Provence began at 8 pm. The Magic Flute began at 7 pm, or would have had not the infamous intermittents (seasonal theatrical employees) demanded to speak to the audience.
High drama in Aix. Three scenarios in conflict — those of G.F. Handel, Richard Jones and the intermittents (disgruntled seasonal theatrical employees). Make that four — mother nature.
The programme declared that ‘music, water and night’ was the connecting thread running through this diverse collection of songs, performed by soprano Lucy Crowe and pianist Anna Tilbrook, but in fact there was little need to seek a unifying element for these eclectic works allowed Crowe to demonstrate her expressive range — and offered the audience the opportunity to hear some interesting rarities.
‘Only make the reader’s general vision of evil intense enough
and his own experience, his own imagination, his own sympathy
will supply him quite sufficiently with all the particulars.
It is not often that concept, mood, music and place coincide perfectly. On the first night of Opera della Luna’s La Fille du Regiment at Iford Opera in Wiltshire, England we arrived with doubts (rather large doubts it should be admitted)as to whether Donizetti’s “naive and vulgar” romp of militarism and proto-feminism, peopled with hordes of gun-toting soldiers and praying peasants, could hardly be contained, surely, inside Iford’s tiny cloister?
‘Lovers and madmen have such seething brains,/ Such shaping fantasies,
that apprehend/ More than cool reason ever comprehends.’
21 Jul 2010
Cosima Wagner — The Lady of Bayreuth
Originally published in German as Herrin des Hügels, das Leben der Cosima Wagner (Siedler, 2007), this new book by Oliver Hilmes is an engaging portrait of one of the most important women in music during the late nineteenth and early twentieth centuries.
Famous as the wife of the pianist-conductor Hans von Bülow, who ran off to marry the composer Richard Wagner, Cosima was the daughter of Franz Liszt and eventually the matriarch who forged her last husband’s legacy at Bayreuth. Hilmes begins his study of Cosima in the present at the annual Bayreuth Festival, which continues to attract audiences. In explaining his interest in Cosima, Hilmes identifies his sources (pp. 349-50), which are in this case voluminous and extend beyond the woman’s diaries, which have already been published in German and English translation. This is an account of an exceptional woman, who transformed conventional widowhood into a living monument to her husband’s memory and also shaped music performance internationally through her development of the Festival at Bayreuth.
Hilmes divides his work into chapters that cover Cosima’s life logically, started with her early life as the illegitimate daughter of Liszt and the French author Marie d’Agoult. He follows with an account of Cosima’s relationship with Liszt’s one-time student Hans von Bülow, which ultimately resulted in what Hilmes calls a marriage of convenience. Here Hilmes is good to show the misunderstandings that have emerged over the years, and to allow some of the documents to speak for themselves, which emerges neatly in his coverage of an episode in which Bülow encountered Cosima with Wagner on the street (pp. 58-59), a scene which has a different character depending on whom one reads. Hilmes’ approach opens the door to a fresh account of Cosima’s affair with Wagner, her divorce from Bülow, and her eventual marriage with Wagner. This portion of the book is of interest for the subtext that emerges in the section headings. Since Bülow conducted the premiere of Wagner’s opera Tristan und Isolde, the presence of that title as a subhead (p. 77) offers a useful point of reference. Likewise, other references to literature and other topics emerges as with “Human, All Too Human” (p. 112) and others. Despite the subtle references, Hilmes is nowhere arch or judgmental. He discusses the sense of guilt Cosmia felt in the way she treated Bülow sensitively. Elsewhere Hilmes shows how active a role Cosima played in Wagner’s life, and this anticipates the role she would take in shaping Bayreuth as an institution later in her own life.
The account of Cosima’s life with Wagner is lively and engaging. The freshness with which Hilmes approaches the episode invites an investigation of the sources and also a rereading of those famous diaries of Cosima in light of the perspectives that are found here. Wagner’s death is depicted with proper reverence, yet shown to be the turning point in what emerges as a kind of musical cult (p. 158), as Cosima identifies herself almost entirely with Wagner and also their home — she even uses Wahnfried as an eponym in correspondence with her daughter Daniela. This is a fascinating aspect of Cosima’s life, and it merits attention in Hilmes treatment of it. In turn, it sets the stage for the international attention that reaches Bayreuth and the role that the Festival takes in shaping German culture. The question of antisemitism emerges in this book, and its treatment is appropriately open; elsewhere Hitler’s relationship with Wagner’s music comes into play, as does the ways in which Cosima shaped the future of Bayreuth as she approached her later years. Hilmes discusses Siegfried Wagner sufficiently and also treats some of the family relationships with a deft hand. As found in other books, the Wagners are a subject that merit separate treatment, and Hilmes offers a nice balance in discussing the family matters, while always retaining the focus on Cosima as his subject.
Part of the attraction of this biography is the lively style the Stewart Spencer brings to the translation. It reads well, and flows with a natural, authorial sense of the language. Spencer seems as engaged in the subject as the author, and that is due to his own work on Wagner and his music. For these and other reasons, this biography has much to recommend for those interested in Cosima and her hand in shaping one of the important institutions in German music in the last century.
James L. Zychowicz