15 Aug 2010
To Loxford with Love
There was a time when the works of Benjamin Britten, one of the 20th-Century’s supreme composers, were not welcome at Santa Fe Opera.
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.
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.
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.
That’s A Winter’s Journey and A Night of Mourning for metteurs-en-scène William Kentridge (South Africa) and Katie Mitchell (Great Britain), completing the clean sweep of English language stage directors for the Aix Festival productions this year.
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.
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?
There was a time when the works of Benjamin Britten, one of the 20th-Century’s supreme composers, were not welcome at Santa Fe Opera.
Under founding director John O. Crosby’s regime only two minor Britten operas were heard over many years. Today, Santa Fe is something of a ‘Britten house’ — long over due — under the recent directorship of Richard Gaddes and now Charles MacKay whose new production of Albert Herring is playing through August. Word is about that Santa Fe’s observance of Britten will continue, with more of his operas planned in seasons ahead. Delightful news!
The time is circa 1900, Loxford, a mythic English village, with an era just ending and a new one about to emerge. But old ways die hard, and in tiny Loxford Victorian ‘morals’ (they were hardly that), are slow to change. When the local autocrat Lady Billows learns there is not a virgin girl available for Loxford’s annual May fete where she plans to give a prize celebrating ‘purity,’ she is outraged. What has the world come to? These country girls “think too little and see too much!” Hold on, says Police Commissioner Budd! There is Albert Herring, 22, pure as the driven snow, the virtuous hard working son of the widow Herring, village greengrocer. Would Lady B. accept a King of the May this year? Harrumph! Very well, if we must. So the plot is set in motion and we find that for Loxford, as well as Victorian-Edwardian England, public morality will soon enough be changed. (I must add a small criticism here: Santa Fe sets the opera in 1947, its debut year, and a cultural disconnect results. By 1947, England had gone through two world wars and a back-breaking depression since the time of Britten’s tale, and pious moralizing of the Loxfordians, entirely suitable in 1900, was out of tune after WWII. I had thought the ‘set in the time of composition’ fad had faded, as indeed it should.)
Joshua Hopkins as Sid and Kate Lindsey as Nancy
Britten’s singular music and the wonderfully singable text of librettist Eric Crozier (adapted from a story of Guy de Maupassant), are the basis for what may very well be the best operatic comedy since Verdi’s Falstaff. Albert Herring is a perfect blending of a simple story with endlessly sophisticated music that supports and elaborates every word of the text and falls easily upon the ear. Melodies abound amidst orchestration of much color and freshness. True, there is a bit of mocking satire, but withal Britten’s villagers are treated gently. ‘Tis a gift to be simple!’
[However, let me add that even today Britten’s opera is somewhat controversial. I was at a performance of it once where an audience member had a heart attack and died, his wife later sued the opera company for “that awful Britten’s music” causing the problem! Several people, and not opera neophytes, have complained after seeing Albert Herring , that it was boring as it’s meant for “high-school or college workshop” production. I could not disagree more! I will say that the piece is quite ‘literary,’ and appeals most to those who especially appreciate form and music. All is restrained and contained, but as contrasted to the repressive formalities of early 20th C. English village life, the music yields up an unusual expressivity, to my perception, producing as it does a rare measure of ironic humor, musical humor as well as rhetorical, for Haydn-like Britten is somehow always able to make a little musical joke or unexpected commentary with a quirky change of harmony, a quote from other sources (Tristan!) given a moment’s special treatment, the strict formality of the Threnody, for example, shattered by the chaos of complaints that immediately follows Albert’s final entry — these techniques all mean something, but admittedly may appeal more to formalists than to those who want a less obviously rhetorical approach to music — Puccini, for example; Britten falls into the same school as Mozart and a few other good companions.]
Santa Fe Opera showed proper respect for Britten’s little masterpiece by engaging Lyric Opera of Chicago’s music director, Sir Andrew Davis, to lead Britten’s musical forces. With an expert 13-piece chamber orchestra in the pit, Sir Andrew on the podium and a cast including Christine Brewer, Joshua Hopkins, Celena Shafer, Alek Shrader, Jill Grove, Kate Lindsey and Judith Christin we were bound to enjoy a memorable evening of Britten. The English village settings by Kevin Knight and, especially Paul Curran’s clarifying stage direction, simply added icing to the confection — all ready and waiting for Lady Billows to serve at tea!
The show’s opening night was a victim of one of Santa Fe’s famous monsoon rains, with horrendous storm noise virtually covering the stage and pit. For purposes of this review I was fortunate to attend the second performance, August 4, a perfect evening, quiet and cool with a brilliant Venus glowing prominently, and appropriately, in the evening sky.
Mme. Brewer, long a Santa Fe favorite and something of a specialist in Britten’s music, dominated every scene as the imperious grande dame of Loxford. With adroit wit, understated playing and a bright soprano voice she became Lady Billows. Her side-kick maid, Florence Pike, was nicely achieved by contralto Jill Grove. The town leaders were capably handled by Dale Travis as Commissioner Budd, Mark Showalter as Mayor Upfold, a fine young bass Jonathan Michie as Vicar Mr Gedge, while the local head teacher was chirped brightly by Celena Shafer who must have been a nervous wreck by the end of the evening as director Curran had her in frantic motion at all times (a tad distracting).
Theirs was good ensemble acting and singing, and in several of the great musical moments, especially the nine-part Threnody of mourning for Albert in the opera’s penultimate scene, Davis and his forces created some genuinely magical musical beauty. He played the Threnody in a hushed pianissimo, then Bang! The lost and “dead” Albert suddenly pops through a trap door and in an instant the mourned becomes the beleaguered, as all hands castigate him for taking his prize money, skipping town and having a helluva good drunken time, returning covered in muddy dishevelment. After all this, Albert’s defining moment arrives, when he sings to his domineering parent, “That’ll do, mum.” And the opera is over.
Celena Shafer (Miss Wordsworth), Jonathan Michie (Mr. Gedge), Dale Travis (Mr. Budd), Alek Shrader (Albert Herring), Mark Schowalter (Mayor Upfold), Christine Brewer (Lady Billows), Jill Grove (Florence Pike) and Judith Christin (Mrs. Herring)
But not quite: As Mum Herring disappears through a door in her store, she looks back, that is the wizardly Judy Christin does, at the audience and gives the show away -- she bestows upon Sid, Nancy and Albert the most wicked little smile you have ever seen, which tells the whole story. You can imagine her thinking, “My boy did it after all, good for him!” If there is a better comic actor in all of opera than Judy Christen, whom I first heard sing Mrs. Herring 32-years ago at the St. Louis opera, I don’t know who it would be.
The brief story of a repressed lad who has escaped Mum, the oppressive town and the fury of Lady Billows thus ended on a note of high amusement before a delighted audience. This show is too good to quit; I hope it plays at other venues and ultimately returns for another season. It is that good.
© J. A. Van Sant 2010