Recently in Performances
Thomas Larcher’s Second Symphony (written 2015-16) here received its United Kingdom premiere, its first performance having been given by the Vienna Philharmonic and Semyon Bychkov in June this year. A commission from the Austrian National Bank for its bicentenary, it is nevertheless not a celebratory work, instead commemorating those refugees who have met their deaths in the Mediterranean Sea, ‘expressing grief over those who have died and outrage at the misanthropy at home in Austria and elsewhere’.
One of the initiatives for the community at the Lucerne Festival is the
‘40 min’ series. A free concert given before the evening’s main event that ranges from chamber
music to orchestral rehearsals.
The mysteries and myths surrounding Mozart’s Requiem Mass - left unfinished at his death and completed by his pupil, Franz Xaver Süssmayr - abide, reinvigorated and prolonged by Peter Shaffer’s play Amadeus as directed on film by Miloš Forman. The origins of the work’s commission and composition remain unknown but in our collective cultural and musical consciousness the Requiem has come to assume an autobiographical role: as if Mozart was composing a mass for his own presaged death.
I saw two operas consecutively at Oper Koln. First, the utterly
bewildering Lucia di Lammermoor; then Thilo Reinhardt’s
thrilling Tosca. His staging was pure operatic joy with some
Bernard Haitink’s monumental Bruckner and Mahler performances with
the Royal Concertgebouw Orchestra (RCO) got me hooked on classical music.
His legendary performance of Bruckner’s Symphony No. 8 in
C-minor, where in the Finale loosened plaster fell from the
Concertgebouw ceiling, is still recounted in Amsterdam.
Karita Mattila was born to sing Emilia Marty, the diva around whom revolves Leoš Janáček's The Makropulos Affair (Věc Makropulos). At Prom 45, she shone all the more because she was conducted by Jirí Belohlávek and performed alongside a superb cast from the National Theatre, Prague, probably the finest and most idiomatic exponents of this repertoire.
‘Two outrageous operas in one crazy evening,’ reads the bill. Hyperbole? Certainly not when the operas are two of Jacques Offenbach’s more off-the-wall bouffoneries and when the company is Opera della Luna whose artistic director, Jeff Clarke, is blessed with the comic imagination and theatrical nous to turn even the most vacuous trivia into a sharp and sassy riotous romp.
This performance of Britten's A Midsummer Night's Dream at Glyndebourne was so good that it was the highlight of the whole season, making the term ‘revival’ utterly irrelevant. Jakub Hrůša is always stimulating, but on this occasion, his conducting was so inspired that I found myself closing my eyes in order to concentrate on what he revealed in Britten's quirky but brilliant score. Eyes closed in this famous production by Peter Hall, first seen in 1981?
A staged piano recital and an opera as a concert. Pianist András Schiff accompanied the Salzburg Marionette Theater at the Mozarteum Grosser Saal and Anna Netrebko sang Manon Lescaut at the Grosses Festspielhaus.
On August 4, 2016, soprano Leah Crocetto and accompanist Tamara Sanikidze gave a recital at the Scottish Rite Center in Santa Fe New Mexico. A winner of the Metropolitan Opera Auditions and the BBC Cardiff Singer of the World Contest, this year Crocetto was singing Donna Anna in Santa Fe Opera’s excellent Don Giovanni.
On July 31, 2016, against the ethereal beauty of the main hall in the Scottish Rite Center, soprano Angela Meade and pianist Joe Illick gave a recital offering both opera and art songs ranging in origin from early nineteenth century Europe to mid twentieth century America. Many in the audience probably remembered Meade’s recent excellent portrayal of Norma at Los Angeles Opera.
When more is definitely more, and less would indeed be less. Two of the biggest names in Italian theater art collide in an eponymous theater.
It was the fifth Proms Chamber Music concert at Cadogan Hall this season, and we were celebrating Shakespeare’s 400th. And, given the extent and range of the composers and artists, and the diversity and profundity of the musical achievement inspired by the Bard, we could probably keep celebrating in this fashion ad infinitum.
Each August the bleak and leaky, 12,000 seat Arena Adriatica (home of the famed Pesaro basketball team) magically transforms itself into an improvised opera house that boasts the ultimate in opera chic — exemplary Rossini production standards for its now twelve hundred seats.
This highly enjoyable Prom, part of 2016’s ‘Proms at
’ mini-series, took as its guiding concept the reopening of London’s theatres following the Restoration, focusing in particular upon musical and dramatic responses to Shakespeare. Purcell, rightly, loomed large, with John Blow and Matthew Locke joining him. Receiving their Proms premieres were the excerpts from Timon of Athens and those from Locke’s The Tempest.
With all the bombast of the presidential campaigns rattling in our heads, with invectives being exchanged and measured discussion all but absent, how utterly lovely to retreat and relax into the harmonious soundscape and well-reasoned debate posed in Strauss’ Capriccio, on magnificent display at Santa Fe Opera.
When we entered the Crosby Theatre for Gounod’s Roméo et Juliette the stage was surprisingly dominated by a somber, semi-circular black mausoleum, many chambers inscribed with scrambled names of US Civil War era dead.
Molten passions were seething just below the icy Nordic exterior of Santa Fe
Opera’s wholly masterful production of Barber’s Vanessa.
Farce is probably the most difficult of dramatic comedy sub-genres to put across. A farce got up in the stately robes of opera sets its presenters an even higher bar. Presenting an operatic farce on a notoriously chilly and cavernous auditorium is to risk catastrophe.
Fan interest began raging when Santa Fe Opera engaged venerable artist Patricia Racette to make her role debut as Minnie in Puccini’s La Fanciulla del West.
12 Oct 2010
Promised End — English Touring Opera
In the final scene of Shakespeare’s King Lear, faced with the dreadful sight of the distraught Lear cradling in his arms the body of his dead daughter Cordelia, the Earl of Kent asks: “Is this the promised end?”
His words perhaps recall the aged Lear’s earlier hope that he
might one day “Unburdened crawl towards death”. Or, as Edgar
interprets, they may evoke the more terrifying image of the Day of Judgement.
Whatever they infer, choosing Kent’s words as the title of an opera which
— its sub-plots stripped away, its minor (and some major) characters
shorn of significance — lasts less 90 minutes but which leaves the
audience longing for the eponymous conclusion, is a potentially dangerous
It’s not that Alexander Goehr’s new opera has no musical or
theatrical merits. Indeed, the first act moves briskly along and, for one
unfamiliar with its poetical predecessor, raises a few interesting ideas. But,
the second act rapidly loses focus; essentially this ‘personal
take’ on Lear has little to say or reveal.
“It’s about old men who get it wrong when they have power and
influence — and then get into a mess. That’s the reason I’m
doing this opera. […] As an incipient old man myself, that’s what
interest me about the story. I mean, I can do Romeo and Juliet now
— I’m past that stage.’”
So Goehr declared in a recent interview in The Guardian, explaining
his decision to tackle one of Shakespeare’s most complex, profound and
disturbing plays, and one which defeated even Verdi and Britten, who abandoned
long-held ambitions to compose an opera based on King Lear. Now aged
78, Goehr professes that the impetus to tackle Lear came when, suffering from
depression upon retiring (reluctantly) from his Professorship at Cambridge
University, he happened to have a dream in which the play was ‘staged as
a Japanese Noh play’. The resulting opera mingles Noh stylizations with
Elizabethan conceits but the sum of the parts lacks substance and coherence.
One is reminded less of the successful cross-cultural integration of Noh
practices with the medieval Mystery Plays in Britten’s church parables
and rather more of the somewhat laboured device of the Male and Female Chorus
in The Rape of Lucretia. Conway’s production — in which
the chorus of principals stand (à la Brecht — another layer of
cultural reference) white-faced and stock-still, motionlessly addressing the
audience, ritually step through boxes of sand, and indulge in stylized dance
movements (for example to accompany the blinding of Gloucester) — taps
into the Noh clichés but offers little illumination.
Indeed, the shadow of Britten hangs over this opera in more ways than one.
The decision to use Shakespeare’s text verbatim recalls the approach of
Britten and Pears when constructing the libretto of A Midsummer
Night’s Dream. In this case, the eminent scholar, the late Frank
Kermode, fashioned a libretto which Goehr has arranged in ’24
preludes’. But, while reducing the work to a manageable length —
excising several (essential?) aspects of the drama and focusing on the central
exchange between Lear and Gloucester — this still leaves the problem of
how to find an appropriate melodic idiom for Shakespeare’s poetry.
Goehr’s rather spiritless arioso simply does not convey the rich depths
and meanings embodied in the sounds and rhythms of the spoken play. Moreover,
the composer’s re-ordering of various episodes destroys the narrative
coherence and makes it near impossible for anyone lacking knowledge of the
original play to follow the psychological development.
The singers and players of English Touring Opera do their best. Lisa
Markeby, playing both Cordelia and the Fool — a now familiar theatrical
device — is appealing, but she is not given the opportunity to develop
and express the full extent of her inner goodness. And, while the expressive
focus of the opera is supposedly the meeting of the two foolish old men, Lear
and Gloucester, now chastened and wiser as they reflect on their short-comings,
the musical fabric fails to convey their supposed transformation. Roderick
Earle bellows and blusters as an aggressive Lear, his scenes with Nigel Robson
(Gloucester) lacking genuine emotional depth and sincerity. As Edgar, Adrian
Dwyer is convincing and impressive. Goneril (Jacqueline Varsey) and Regan
(Julia Sporsen) are not musically differentiated and have little dramatic role
Ryan Wigglesworth draws clear lines and textures from his band, the Aurora
Orchestra. Goehr does create some interesting colours, not least through his
use of the chamber organ and guitar — which evoke fittingly Elizabethan
timbres — but the composite impression is one of episodic, unrelated
colourings designed to fill the gaps between scenes.
In his programme note, Goehr asks for the audience’s indulgence:
“So it remains only for me to say, that you will not be home too late and
ask that by your clapping you show some approval for what has been done
here.” This seems to me to be a patronising appeal to an audience that
may long for a less superficial musical response to a play that interrogates
essential questions of human existence.
Promised End is at the Linbury Studio at the Royal Opera House,
London on 11, 14, 16 October and then tours until 26 November. For touring
details see www.englishtouringopera.org.uk.