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 Performances

Dolora Zajick Premieres Composition

At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.

Santa Fe Opera Presents Huang Ruo's Sun Yat-sen

By emphasizing the love between Sun Yat-sen and Soong Ching-ling, Ruo showed us the human side of this universally revered modern Chinese leader. Writer Lindsley Miyoshi has quoted the composer as saying that the opera is “about four kinds of love.” It speaks of affection between friends, between parents and children, between lovers, and between patriots and their country.

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’.

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.

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.

Il turco in Italia at the Aix Festival

Twenty years ago stage director Christopher Alden introduced Rossini’s then forgotten comedy to Southern California audiences in a production that is still remembered. In Aix Alden has revisited this complex work that many critics now consider Rossini’s greatest comedy.

OPERA TODAY ARCHIVES »

Performances

Act III from Die Meistersinger von Nürnberg (Ferdinand Leeke)
19 Jul 2010

Meistersinger at the Proms

The BBC Proms brought the Welsh National Opera’s hit Die Meistersinger von Nürnberg to the Royal Albert Hall and to the world, via international broadcast.

Richard Wagner: Die Meistersinger von Nürnberg

Walther von Stolzing: Raymond Very; Eva: Amanda Roocroft; Magdalene: Anna Burford; David: Andrew Tortise; Hans Sachs: Bryn Terfel; Sixtus Beckmesser: Christopher Purves; Veit Pogner: Brindley Sherratt; Fritz Kothner: Simon Thorpe; Kunz Vogelgesang: Geraint Dodd; Konrad Nachtigall: David Stout; Ulrich Eisslinger: Andrew Rees; Herman Ortel: Owen Webb; Balthasar Zorn: Rhys Meirion; Augustin Moser: Stephen Rooke; Hans Folz: Arwel Huw Morgan; Hans Schwarz: Paul Hodges; Nightwatchman: David Soar. Conductor: Lothar Koenigs. Prom 2, BBC Proms 2010. Royal Albert Hall, London. 17th July 2010.

Above: Act III from Die Meistersinger von Nürnberg (Ferdinand Leeke)

 

Bryn Terfel sings his first Hans Sachs this season. Anything Terfel appears in will elicit ecstatic praise because he’s a national hero. He’s iconic, but you don’t have to be Welsh or British to adore him. His sheer presence made Prom 2 unmissable, even for those new to Wagner. A good introduction to the composer and his music.

Terfel was, of course, magnificent. Hans Sachs is an ideal vehicle for his talents. Terfel’s forceful timbre suits the “public” Hans Sachs, revered Meistersinger and shaper of public opinion. The Meistersingers represent civic pride and power: Wagnerian singing is often cursed by “park and bark”. Fortunately Terfel realizes that there’s a lot more to Sachs than public persona. Sachs is a poet after all, and a shoemaker — solitary professions, unlike being a Town Clerk. Notice how Wagner keeps Sachs in relative reserve until Act One, Scene Three.

Terfel’s finest moments thus came in moments where Sachs is on his own, in his workshop, relating to others one to one. “Was duftet doch der Flieder” let Terfel sing quietly. Declamation isn’t Sachs’s style. Terfel’s “Wahn! Wahn! Überall Wahn!” could have had more world-weary pathos, and more delicacy on words like “Der Flieder”. The Elder tree after all, is critical to the whole opera, for it means new growth, just as Walther von Stoltzing brings new ideas to the Meistersingers. Johannesnacht is Hans Sachs’s name-day, to men of his time a potent symbol. But perhaps I quibble, because the Proms reaches mass audiences. Better that Terfel inspires audiences to listen more and discover Wagner in their own time.

Terfel looks the part, physically overwhelming Christopher Purves’s Beckmesser. Terfel’s a big man, but he’s nimble on his feet when he has to be, dancing a merry jig around Purves. What a good idea to incorporate this detail from the full staging into concert performance! It’s invigorating. Sachs may be old, but he’s on the ball. That’s why he sees Walther’s potential.

This Beckmesser, though, easily stands muster against Terfel’s Sachs. Christopher Purves has a real gift for character singing. He moves about in quick, tense gestures, which amplify the acid-brightness of his singing. Beckmesser isn’t an outsider, he’s a Meistersinger and civic leader, an “insider” if there ever was one, obsessed with rules and status and keeping newcomers out. Purves’s Beckmesser is a fool, but too cheerful to be evil. His “songs” are done as amusing parody rather than grotesque. The harpist who really plays the tune of the lute make it sound quite beautiful in a quirky way.

There’s also a lot more to Die Meistersinger von Nürnberg than the nationalistic overtones shamelessly hijacked by the Third Reich. So much for their “respect” for Wagner. “Die heil’gen Deutsche Kunst” meant something completely different to Hans Sachs, living as he did during the Reformation, when Germany was being torn apart in the struggle between Lutheran (German) and Catholic (Foreign) values. That’s why Sachs was interested in German identity.

Wagner was doing a Luther, too, trying to develop a new kind of music theatre, based on German tradition, as opposed to French and Italian opera. Germany didn’t exist as nation-state until 1871 — several years after Meistersinger was written. It was a concept with many positive aspects, supported by many for its modernizing potential. This makes the rise of the Third Reich even more troubling, for it is a paradigm of society.

Prom 2 Meistersinger reflected Sachs’s concept of Germania, not Hitler’s. In the WNO production, images of German cultural heroes through the ages are projected onto the stage, reminding us that “holy German art” goes back a thousand years and has produced men like Bach and Goethe. And Art is holy because of what it is, ultimately greater than nations.

Walther von Stoltzing is the real outsider in Nuremberg, having learned singing from nature, from birds in the woods (though he read Vogelweide, showing that he, too, knows tradition).. He’s an aristocrat but significantly declassé, a wanderer like Wagner himself. Because Germany was fragmented until very recently, Germany was full of wanderers, especially after the Thirty Years and Napoleonic wars. Wanderers recur throughout the Romantic genre. Stolzing symbolizes the new.

Raymond Very’s Walther is good, though not transcendentally luminous. The Prize Song is ravishingly beautiful, but Wagner shows how it develops through experience. Walther’s first effort isn’t great, but he meets Eva,. His art is created through love. When Very sings the words “Eva im Paradies”, his voice expands warmly, expressively.

Amanda Roocroft’s voice has mellowed and rounded out well. Even if she isn’t an ingénue, her Eva is very well realized. This must be one of the crowning moments in her career, immeasurably better than when I last heard her sing Eva nearly ten years ago. She was spirited, her voice agile and bright. Die Pognerin is too big a role for a babe, which makes casting tricky. Roocroft convinces through her voice. Arguably, Eva doesn’t have to be a teen. Magdelena (Anna Burford) is older than David, but she appreciates Walther before he does.

The real discovery in this production is Andrew Tortise’s David. He’s wonderful. Tortise’s huge Act One Scene one arias are a tour de force, but Tortise sustains the inner logic through the different stages, pacing himself carefully. On top of this, he acts well, too, a fresher, more impudent Walther in the making. It’s an intelligent characterization, because under the comic surface of the role, David is a powerful figure. Wagner doesn’t write so much for the role for nothing. Like Walther, David is part of the future. Tortise has impressed me several times before in minor parts. Now, with this superb David, Tortise is the future, too.

Brindley Sherratt’s Pogner is authoritative as befits someone of his experience and stage personality. Pogner is a more troubling figure than most productions express, because Sherratt makes him sound so firm. Why is he giving his daughter away, against her will, ostensibly for the sake of art? Can people be traded for abstract ideas? Therein lies one of the dark secrets in this opera.

If art must be controlled through guilds and conformist rules, is it art? Are rules a means of suppression, or bulwarks against dissolution. Implicitly, in the background lurks the idea of a world in constant transition, where standing still means falling back. Perhaps this is why Meistersinger attracts the Far Right, though there’s a lot in it to appeal to the Far Left as well. This set of Meistersingers sang pleasantly, but only Sherratt’s Pogner hinted at more unpleasant levels.

Also very impressive was David Soar’s Nightwatchman — definitely a singer to listen out for.

The Chorus and Orchestra of Welsh National Orchestra, conducted by Lothar Koenigs, supported the performance solidly. Any performance at the Proms generates its own excitement, which creates an aura of wonder that’s hard to resist. I had a good time, though on purely musical terms this Prom wasn’t a match for other great Meistersingers, though it will be fondly remembered by English-speaking audiences. Nonetheless, the Proms aren’t about perfection. They’re there to get people stimulated, so they have a good time and go on to hear more. Beckmesser values don’t apply.

The Proms are the “Biggest music Festival in the World”, now in its 116th season. BBC Proms 2010 can be heard live, and internationally broadcast live, online and on demand. Please follow this link for more information.

Anne Ozorio

Click here to listen to audio clips of this performance.

Click here for Jim Sohre’s review of this production performed at Cardiff.

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):