01 Sep 2010
Englebert Humperdinck: Hansel und Gretel — BBC Prom 61
The annual visit of Glyndebourne Opera to the BBC Proms has become an eagerly awaited event.
Opera Philadelphia deserves congratulations on yet another coup. The company co-commissioned Cold Mountain, an opera by Jennifer Higdon based on Gene Scheer’s adaptation of Charles Frazier’s celebrated Civil War epic.
For their first of two recitals at the Wigmore Hall, Christian Gerhaher and Gerold Huber devised an interesting programme - popular Schubert mixed with songs by Wolfgang Rihm and by Huber himself.
There are not many opera productions that you would cross oceans to see. Graham Vick’s Götterdämmerung in Sicily however compelled such a voyage.
Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.
Robert Ashley’s opera-novel Quicksand makes for a novel experience
One of the leading Russian composers of his generation, Alexander Raskatov’s reputation in the UK and western Europe derives from several, recent large-scale compositions, such as his reconstruction of Alfred Schnittke’s Ninth Symphony from a barely legible manuscript (the work was first performed in 2007 in the Dresden Frauenkirche by the Dresden Philharmonic under Dennis Russell Davies), and his 2010 opera A Dog’s Heart, based on Mikhail Bulgakov’s satire (which was directed by Simon McBurney at English National Opera in 2010, following the opera’s premiere at Netherlands Opera earlier that year).
I’m not sure that St John’s Smith Square was the most appropriate venue for Opera Danube’s latest production: Jacques Offenbach’s satirical frolic, Orpheus in the Underworld.
This nasty little opera evening in Lyon lived up to the opera’s initial reputation as pure pornophony. This is the erotic Shostakovich of the D minor cello sonata, it is the sarcastic and complicated Shostakovich of The Nose . . .
During December 2015 and presently in January Lyric Opera of Chicago has featured the world premiere of the opera Bel Canto, with music by Jimmy López and libretto by Nilo Cruz, based on the novel by Ann Patchett.
Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.
The title role is a deciding factor in Madama Butterfly. Despite a last-minute conductor cancellation, last Saturday’s concert performance at the Concertgebouw was a resounding success, thanks to Lianna Haroutounian’s opulent, heart-stealing Cio-Cio-San.
With this performance of vocal and instrumental works composed by the 10-year-old Mozart and his contemporaries during 1766, Classical Opera entered the second year of their 27-year project, MOZART 250, which is designed to ‘contextualise the development and influences of [sic] the composer’s artistic personality’ and, more audaciously, to ‘follow the path that subsequently led to some of the greatest cornerstones of our civilisation’.
Luca Pisaroni and Wolfram Rieger were due to give the latest installment in the Wigmore Hall's complete Schubert songs series, but both had to cancel at short notice. Fortunately, the Wigmore Hall rises to such contingencies, and gave us Benjamin Appl and Jonathan Ware. Since there's a huge buzz about Appl, this was an opportunity to hear more of what he can do.
The phrase ‘Sunday afternoon concert’ may suggest light, post-prandial entertainment, but soprano Gemma Lois Summerfield and her accompanist, Simon Lepper, swept away any such conceptions in this demanding programme at St. John’s Smith Square.
When, o when, will someone put Peter Sellars and his compendium of clichés out of our misery?
Having recently followed some by-ways through the music of Purcell, Monteverdi and Cavalli, L’Arpeggiata turned the spotlight on traditional folk music in this characteristically vibrant and high-spirited performance at the Wigmore Hall.
Edward Gardner brought all his experience as a choral and opera conductor to bear in this stirring performance of Michael Tippett’s A Child of Our Time at the Barbican Hall, with a fine cast of soloists, the BBC Symphony Orchestra and BBC Symphony Chorus.
‘Apt for voices or viols’: eager to maximise sales among the domestic market in Elizabethan England, publishers emphasised that the music contained in collections such as Thomas Morley’s First Book of Madrigals to Four Voices of 1594 was suitable for performance by any combination of singers and players.
It was a single title but a double bill and there was far more happening than Gordon Getty and Claude Debussy. Starting with Edgar Allen Poe.
For its latest production of the current season Lyric Opera of Chicago is presenting Franz Lehár’s The Merry Widow (Die lustige Witwe) featuring Renée Fleming /Nicole Cabell as the widow Hanna Glawari and Thomas Hampson as Count Danilo Danilovich.
The annual visit of Glyndebourne Opera to the BBC Proms has become an eagerly awaited event.
This year, Laurent Pelly’s 2008 staging of Humperdinck’s fairy-tale favourite, Hansel and Gretel, with its economical, ‘recession-savvy’ sets — brown cardboard boxes à la homeless-city, floor-mop trees, litter-strewn landscape and flimsy paper ovens — proved a timely and fitting choice for the restricted stage space and theatrical basics available at the Royal Albert Hall. The absence of luxurious stage designs and copious props was certainly not a hindrance to Stéphane Marlot’s clever adaptation for the Royal Albert Hall, which hinted at fantasy and enchantment but left it to the audience’s imagination to fill in the ambiguous gaps — which is just as it should be in fairyland.
After a long Glyndebourne run, which began in July, the cast were confident and at ease; interestingly, performances that might have lacked freshness were given a boost of spontaneity by the unfamiliar locale, none more so that the arrival William Dazely’s Father, surreptitiously signalled by a speculative glance to the back of the Arena by conductor, Robin Ticciati. A boisterous Dazely, clutching two bursting supermarket-bags, raucously negotiated his way through a crowded, surprised Proms Arena, lurching and launching himself over successive barriers to climb up to the stage — the cymbal player serving as a useful bag carrier as the final hoist was accomplished.
As his wife, Imgard Vilsmaier was rather less rough and ready. Vilsmaier has a big Wagnerian voice — booming the Mother’s frustration and despair to the rafters of the Gallery — but it is a pleasant-toned instrument, one which she modulated skilfully in her Act 1 aria to convey her maternal distress and despair.
But it is eponymous siblings who dominate the opera, and this production presented a superlative pairing. Alice Coote, enacted an astonishing metamorphosis to petulant, prepubescent mischief-maker — a touch of attention deficit disorder, perhaps? Coote was exhaustingly hyperactive, even managing to make disappearing into a cardboard box appear interesting and amusing. Her glorious tone was consistently projected with clarity and warmth - one cannot imagine a better Hansel, or a mezzo-soprano who enjoys the role more. Lydia Teuscher, as Gretel, held her own admirably with such a seasoned partner. Possessing a crisp, clear soprano, she twisted and twirled engagingly with her impish brother, their voices entwining with breathtaking beauty in the Evening Prayer.
Attired in a fluorescent pink two-piece suit and bouffant wig, Wolfgang Ablinger-Sperrhacke was an eye-watering picture of consumerist and gastronomic greed as the Witch. His ‘Shirley-Bassey’ strutting, brazenly clutching an upturned mop — microphone or broomstick? — raised uncomfortable hackles, and anticipated the exposure of his chilling intent when he whipped off the wig and revealed the sinisterly bare-headed, pot-bellied, knife-wielding monster beneath the deceptively frivolous drag-queen apparel.
Wolfgang Ablinger-Sperrhacke as the Witch
In the absence of the full trappings of the opera house, it was essentially left to the lighting scheme to successfully evoke location and ambience. The panels encircling the raised platform variously shone ice-blue, for the loveless, foodless family home; blared gothic red for the slaughter-house kitchen; twinkled luminous silver for the moonlit forest; and gleamed verdant green for the final familial reunion. Despite these resourceful effects, it remained somewhat difficult for the minor roles to establish their character effectively, in such a large arena, although the performances of both Tara Erraught, as the Sandman, and Ida Falk Winland’s Dew-Fairy captured the ambiguous bitter-sweet mood of this production.
The children’s chorus, no doubt well-drilled for Glyndebourne, sang sweetly but looked a little unsure and slightly stilted as they moved around the confines of the stage platform. The Dream Pantomime is a clever concept though: Pelly presents a pristine parade of white-frocked, well-fed children, gorging on Big Macs while a hungry Hansel and Gretel can only dream of gluttonous gastronomy — an ‘angelic host’ which leaves the children nothing but discarded wrappers and empty bellies. As one critic has put it, this is a sharp metaphor for the ‘haves and have-nots’, a pertinent message which Pelly presumably hoped would not be lost on the affluent Glyndebourne clientele.
Lydia Teuscher as Gretel and Alice Coote as Hänsel
Conductor Robin Ticciati, danced light-footedly on the podium before an engaging and committed London Philharmonic Orchestra. Ticciati proved himself a master of rhythmic flexibility, skilfully controlling pace to expose the juxtapositions of sweet joy and melancholy deprivation, energetic optimism and despondent resignation, which characterise the score. The orchestra provided the tints and shades of the rich colour palette which was missing visually; their energetic playing never tipped into Wagnerian weightiness, as Ticciati conjured both the effervescence of the children’s escapade and the satisfyingly soporific moments of rest.
There were no sub- or sur-titles for this performance; thus the audience were prompted out of an habitual ‘laziness’, forced to listen closely to the sung text, or attentively follow the libretto provided in the programme, or to rely on their familiarity with this well-known tale. There were no complaints, and no difficulties, as far as I could tell; we simply rediscovered our ability to be responsive to what was presented to our eyes and ears, an effort which audiences should be pushed to make more frequently perhaps?
As the fairy-story reached its equivocal ‘happy ever after’, Ticciati’s baton drew ravishing warmth from his players. Pelly’s reading of this Grimm tale may be ironic and more than a little shadowy, but the darkness on this occasion was buried beneath the orchestral light and hope.