Recently in Performances
Classical Opera’s MOZART 250 project has reached the year 1767. Two years ago, the company embarked upon an epic, 27-year exploration of the music written by Mozart and his contemporaries exactly 250 years previously. The series will incorporate 250th anniversary performances of all Mozart’s important compositions and artistic director Ian Page tells us that as 1767 ‘was the year in which Mozart started to write more substantial works - opera, oratorio, concertos
this will be the first year of MOZART 250 in which Mozart’s own music dominates the programme’.
‘[T]hey moderated or increased their voices, loud or soft, heavy or light according to the demands of the piece they were singing; now slowing, breaking of sometimes with a gentle sigh, now singing long passages legato or detached, now groups, now leaps, now with long trills, now with short, or again, with sweet running passages sung softly, to which one sometimes heard an echo answer unexpectedly. They accompanied the music and the sentiment with appropriate facial expressions, glances and gestures, with no awkward movements of the mouth or hands or body which might not express the feelings of the song. They made the words clear in such a way that one could hear even the last syllable of every word, which was never interrupted or suppressed by passages or other embellishments.’
An exceptional Wagner Der fliegende Holländer, so challenging that, at first, it seems shocking. But Kasper Holten's new production, currently at the Finnish National Opera, is also exceptionally intelligent.
A welcome addition to Lyric Opera of Chicago’s roster was its recent production of Jules Massenet’s Don Quichotte.
800 years ago, every book was a precious treasure - ‘written on skin’. In George Benjamin’s and Martin Crimp’s 2012 opera, Written on Skin, modern-day archivists search for one such artefact: a legendary 12th-century illustrated vanity project, commissioned by an unnamed Protector to record and celebrate his power.
It was like a “Date Night” at Staatsoper unter den Linden with
its return of Eike Gramss’ 2012 production of Puccini’s Madama
Butterfly. While I entered the Schiller Theater, the many young couples
venturing to the opera together, and emerging afterwards all lovey-dovey and
moved by Puccini’s melodramatic romance, encouraged me to think more
positively about the future of opera.
For the Late Night concert after the Saturday series, fifteen Berliners
backed up Barbara Hannigan in yet another adventurous collaboration on a modern
rarity with Simon Rattle. I was completely unfamiliar with the French composer,
but the performance tonight made me fall in love with Gérard
Grisey’s sensually disintegrating soundscape Quatre chants pour
franchir le seuil, or “Fours Songs to cross the
One of the things I love about the Philharmonie in Berlin, is the normalcy
of musical excellence week after week. Very few venues can pull off with such
illuminating star wattage. Michael Schade, Anne Schwanewilms, and Barbara
Hannigan performed in two concerts with two larger-than-life conductors
Thielemann and Rattle. We were taken on three thrilling adventures.
Lyric Opera of Chicago’s original and superbly cast production of Hector Berlioz’s Les Troyens has provided the musical public with a treasured opportunity to appreciate one of the great operatic achievements of the nineteenth century.
The Little Opera Company opened its 21st season by championing its own, as it presented the world premiere of Winnipeg composer Neil Weisensel’s Merry Christmas, Stephen Leacock.
Now in its 31st year, the 2016 Christmas Festival at St John’s Smith Square has offered sixteen concerts performed by diverse ensembles, among them: the choirs of King’s College, London and Merton College, Oxford; Christchurch Cathedral Choir, Oxford; The Gesualdo Six; The Cardinall’s Musick; The Tallis Scholars; the choirs of Trinity College and Clare College, Cambridge; Tenebrae; Polyphony and the Orchestra of the Age of the Enlightment.
As 2016 draws to a close, we stand on the cusp of a post-Europe, pre-Trump world. Perhaps we will look back on current times with the nostalgic romanticism of Richard Strauss’s 1911 paean to past glories, comforts and certainties: Der Rosenkavalier.
Ah, Loft Opera. It’s part of the experience to wander down many dark
streets, confused and lost, in a part of Brooklyn you’ve never been. It
is that exclusive—you can’t even find the
Let’s start by getting a couple of gripes out of the way. First, the
final act of Die Walküre does not constitute a full-length
concert, even with a distinguished cast and orchestra, and with animated
drawings fluttering on a giant screen.
When you combine two charismatic New York stage divas with the artistry of Los Angeles Opera, you have a mix that explodes into singing, dancing and an evening of superb entertainment.
Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.
A historical afternoon at the NTR Saturday Matinee occurred with an epic
concert version of Prokofiev’s Soviet Opera Semyon Kotko.
Opening night at the Metropolitan is a gleeful occasion even when the
composer is long gone, but December 1st was an opening for a living composer who
has been making waves around the world and is, gasp, a woman — the second woman
composer ever to have an opera presented at the Met.
For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.
As the German language describes so beautifully, a “Schrei aus
tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra
from the depths of her soul.
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.