Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

European premiere of Unsuk Chin’s Le Chant des enfants des étoiles, with works by Biber and Beethoven

Excellent programming: worthy of Boulez, if hardly for the literal minded. (‘I think you’ll find [stroking chin] Beethoven didn’t know Unsuk Chin’s music, or Heinrich Biber’s. So … what are they doing together then? And … AND … why don’t you use period instruments? I rest my case!’)

Rising Stars in Concert 2018 at Lyric Opera of Chicago

On a recent weekend evening the performers in the current roster of the Patrick G. and Shirley W. Ryan Opera Center at Lyric Opera of Chicago presented a concert of operatic selections showcasing their musical talents. The Lyric Opera Orchestra accompanied the performers and was conducted by Edwin Outwater.

Arizona Opera Presents a Glittering Rheingold

On April 6, 2018, Arizona Opera presented an uncut performance of Richard Wagner’s Das Rheingold. It was the first time in two decades that this company had staged a Ring opera.

Handel's Teseo brings 2018 London Handel Festival to a close

The 2018 London Handel Festival drew to a close with this vibrant and youthful performance (the second of two) at St George’s Church, Hanover Square, of Handel’s Teseo - the composer’s third opera for London after Rinaldo (1711) and Il pastor fido (1712), which was performed at least thirteen times between January and May 1713.

The Moderate Soprano

The Moderate Soprano and the story of Glyndebourne: love, opera and Nazism in David Hare’s moving play

The Spirit of England: the BBCSO mark the centenary of the end of the Great War

Well, it was Friday 13th. I returned home from this moving and inspiring British-themed concert at the Barbican Hall in which the BBC Symphony Orchestra and conductor Sir Andrew Davis had marked the centenary of the end of World War I, to turn on my lap-top and discover that the British Prime Minister had authorised UK armed forces to participate with French and US forces in attacks on Syrian chemical weapon sites.

Thomas Adès conducts Stravinsky's Perséphone at the Royal Festival Hall

This seemed a timely moment for a performance of Stravinsky’s choral ballet, Perséphone. April, Eliot’s ‘cruellest month’, has brought rather too many of Chaucer’s ‘sweet showers [to] pierce the ‘drought of March to the root’, but as the weather finally begins to warms and nature stirs, what better than the classical myth of the eponymous goddess’s rape by Pluto and subsequent rescue from Hades, begetting the eternal rotation of the seasons, to reassure us that winter is indeed over and the spirit of spring is engendering the earth.

Dido and Aeneas: La Nuova Musica at Wigmore Hall

This performance of Purcell’s Dido and Aeneas by La Nuova Musica, directed by David Bates, was, characteristically for this ensemble, alert to musical details, vividly etched and imaginatively conceived.

Bernstein's MASS at the Royal Festival Hall

In 1969, Mrs Aristotle Onassis commissioned a major composition to celebrate the opening of a new arts centre in Washington, DC - the Kennedy Center for the Performing Arts, named after her late husband, President John F. Kennedy, who had been assassinated six years earlier.

Hans Werner Henze : The Raft of the Medusa, Amsterdam

This is a landmark production of Hans Werner Henze's Das Floß der Medusa (The Raft of the Medusa) conducted by Ingo Metzmacher in Amsterdam earlier this month, with Dale Duesing (Charon), Bo Skovhus and Lenneke Ruiten, with Cappella Amsterdam, the Nieuw Amsterdams Kinderen Jeugdkoor, and the Netherlands Philharmonic Orchestra, in a powerfully perceptive staging by Romeo Castellucci.

Johann Sebastian Bach, St John Passion, BWV 245

This was the first time, I think, since having moved to London that I had attended a Bach Passion performance on Good Friday here.

Easter Voices, including mass settings by Mozart and Stravinsky

It was a little early, perhaps, to be hearing ‘Easter Voices’ in the middle of Holy Week. However, this was not especially an Easter programme – and, in any case, included two pieces from Gesualdo’s Tenebrae responsories for Good Friday. Given the continued vileness of the weather, a little foreshadowing of something warmer was in any case most welcome. (Yes, I know: I should hang my head in Lenten shame.)

Academy of Ancient Music: St John Passion at the Barbican Hall

‘In order to preserve the good order in the Churches, so arrange the music that it shall not last too long, and shall be of such nature as not to make an operatic impression, but rather incite the listeners to devotion.’

Fiona Shaw's The Marriage of Figaro returns to the London Coliseum

The white walls of designer Peter McKintosh’s Ikea-maze are still spinning, the ox-skulls are still louring, and the servants are still eavesdropping, as Fiona Shaw’s 2011 production of The Marriage of Figaro returns to English National Opera for its second revival. Or, perhaps one should say that the servants are still sleeping - slumped in corridors, snoozing in chairs, snuggled under work-tables - for at times this did seem a rather soporific Figaro under Martyn Brabbins’ baton.

Lenten Choral Music from the Choir of King’s College, Cambridge

Time was I could hear the Choir of King’s College, Cambridge almost any evening I chose, at least during term time. (If I remember correctly, Mondays were reserved for the mixed voice King’s Voices.)

A New Faust at Lyric Opera of Chicago

Lyric Opera of Chicago’s innovative, new production of Charles Gounod’s Faust succeeds on multiple levels of musical and dramatic representation. The title role is sung by Benjamin Bernheim, his companion in adventure Méphistophélès is performed by Christian Van Horn.

Netrebko rules at the ROH in revival of Phyllida Lloyd's Macbeth

Shakespeare’s Macbeth is a play of the night: of dark interiors and shadowy forests. ‘Light thickens, and the crow/Makes wing to th’ rooky wood,’ says Macbeth, welcoming the darkness which, whether literal or figurative, is thrillingly and threateningly palpable.

San Diego’s Ravishing Florencia

Daniel Catán’s widely celebrated opera, Florencia en el Amazonas received a top tier production at the wholly rejuvenated San Diego Opera company.

Samantha Hankey wins Glyndebourne Opera Cup

Four singers were awarded prizes at the inaugural Glyndebourne Opera Cup, which reached its closing stage at Glyndebourne on 24th March. The Glyndebourne Opera Cup focuses on a different single composer or strand of the repertoire each time it is held. In 2018 the featured composer was Mozart and the Orchestra of the Age of Enlightenment accompanied the ten finalists.

Handel's first 'Israelite oratorio': Esther at the London Handel Festival

It’s sometimes suggested that it was the simultaneous decline of the popularity of Italian opera seria among Georgian audiences and, in consequence, of the fortunes of Handel’s Royal Academy King’s Theatre, that led the composer to turn his hand to oratorio in English, the genre which would endear him to the hearts of the nation.

OPERA TODAY ARCHIVES »

Performances

Vladimir Jurowski [Dressed by Ermenegildo Zegna; Photo by Sheila Rock courtesy of IMG Artists]
02 Feb 2011

Jurowski conducts Zemlinsky

This looked an enticing programme before Vladimir Jurowski, in conversation with the Southbank Centre’s Head of Music, Marshall Marcus, divulged its secrets.

Péter Eötvös: Shadows (British premiere of orchestral version); Franz Liszt: Piano Concerto no.2 in A major, S.125; Alexander von Zemlinsky: Lyric Symphony, op.18

Alexander Markovich (piano); Melanie Diener (soprano); Thomas Hampson (baritone); London Philharmonic Orchestra; Vladimir Jurowski (conductor). Royal Festival Hall, London, Wednesday 26 January 2011.

Above: Vladimir Jurowski [Dressed by Ermenegildo Zegna; Photo by Sheila Rock courtesy of IMG Artists]

 

It was, Jurowski told us, to be considered as part of a larger programme in conjunction with the London Philharmonic’s Saturday concert (Ligeti’s Lontano, Bartók’s First Violin Concerto, and Mahler’s Das klagende Lied). Anniversary boys Liszt and Mahler would be celebrated and contextualised. One might make too much of that; Jurowski mentioned the extraordinary late works of Liszt, but the Second Piano Concerto is not among them. (Most are for piano solo, in any case.) Likewise, though he lamented the neglect of so much of Liszt’s œuvre, as opposed to Mahler’s, we heard neither a choral work nor a symphonic poem, but a relatively mainstream piece, albeit one I was hearing for the first time in concert. Nevertheless, the sense of Liszt, Mahler, and three Hungarian composers sharing a continuum into which it would not be so very difficult also to fit Zemlinsky, offered much to think about. It was a pity that the planned repeat performances in Budapest had to be cancelled in light of economic circumstances, but at the very least Hungary’s Presidency of the European Union could be celebrated.

That conversation took place between the first and second works, since Péter Eötvös’s Shadows (1996) required an unusual seating arrangement, necessitating considerable rearrangement for the Liszt concerto. Shadows, for flute, amplified clarinet, and ensemble or orchestra, here received the first British performance of its orchestral performance. On a first hearing, it did not overstay its welcome, though I am not sure that it proved a revelation either. It seemed well performed, not least by the two soloists, flautist Sue Thomas and clarinettist Nicholas Carpenter. They held centre stage, along with Jurowski, two percussionists and celeste player, Catherine Edwards. Two groups of wind instruments, backs to the audience, acted as ‘shadows’ to the soloists, whilst two groups of strings, sparingly deployed, made up the rear (facing forwards). In three movements, the work opens with dance-music: so far, so typically or stereotypically ‘Hungarian’. Contrast between regularity and irregularity caught the ear. Neo-Bartókian string and percussion sonorities proved attractive in the second part, at least two mobile telephones less so. The arabesque dialogue between flute and clarinet, with which the third movement opens, also brought Bartók, this time his ‘night music’, to mind, the prominent part for celesta doing nothing to dispel — and why should it? — that association. Space and time are clearly preoccupations here, though Boulez and Stockhausen, for instance, would seem to have gone further, earlier. I may well, however, have missed the point.

Alexander Markovich joined the orchestra for the Liszt work. This was not to be a flawless performance — there were a few occasions on which soloist and orchestra fell out of sync — but its spirit impressed. The white heat of Sviatoslav Richter’s astounding recording with the equally astounding LSO and Kirill Kondrashin — a Liszt Desert Island disc, especially coupled with the B minor Sonata — may not have been felt, but this was arguably a more exploratory performance, doubtless aided by Jurowski’s conception of the work as more a symphonic poem with piano than a typical concerto. (He referred to its single movement and monothematicism.) The LPO players responded with verve and subtlety — yes, you read that word correctly. They ensured, for instance, that the all-important woodwind opening struck just the right, neo-Mozartian serenading note. To that, Markovich could respond with due delicacy, rapture even, all performers making clear the unorthodox nature of what could so easily resemble a mere virtuoso showpiece. The fluidity of the pianist’s response to the score was especially noteworthy, though all players were careful to ensure that this never descended into formlessness. Virtuosity was present, of course, for instance in Markovich’s thundering octave passages, but always, it seemed, at the music’s service. Sharply profiled rhythmically where necessary, the performance never became hard-driven; indeed, there was always plenty of light and shade. Lower strings impressed with depth of tone in the lead up to the beautiful duet between piano and cello (Kristine Blaumane). Liszt’s chamber music, like Wagner’s, tended to form part of other works, but it is no less chamber music for that. The march transformation, which some puritans have condemned as ‘vulgar’, sounded nothing of the sort; instead, it was dramatically stirring — and, more important, clear in its thematic derivation. Liszt suffers terribly from poor or mediocre performances; he did not here. As a sparkling encore, virtuosic in every sense, Markovich offered a transcription of the ‘Skaters’ Waltz’ from Les patineurs. I assume that it was Liszt’s, but not having heard it before, cannot be sure.

Zemlinsky’s Lyric Symphony, which I have long thought close to a masterpiece, formed the second half to the concert. It is not so long since the Royal Festival Hall heard what remains a relative rarity; Esa-Pekka Salonen led a truly outstanding performance from the Philharmonia in March 2009. If ultimately Jurowski’s reading did not quite convince me as Salonen’s had, it was interestingly different and proved in many respects complementary. The opening drum rolls resounded magnificently, but I felt much of the first movement unsettled in the wrong way, Jurowski’s direction rendering the bar lines all too audible, however fine the orchestral contribution in itself. Even in this movement, however, the music settled down, and many instrumental details proved sharply etched, not least the crucial flute lines. (The flute is as important to Rabindranath Tagore’s verse as it is to Das Lied von der Erde, a dangerous comparison, which often obscures as much as it reveals, yet which retains some validity when drawn with care.) Moreover, Jurowski proved alert to the teeming of those lines in combination, a combination that edged towards Schoenberg. Zemlinsky was by no means a merely backward-looking composer in 1923.

What of the baritone soloist, Thomas Hampson? Response would largely, I suspect, be a matter of taste. There could be no doubting the intelligence of his verbal response, nor the quality of his diction. (The latter left no one in doubt that he had, in the fifth movement, substituted ‘diesem Zauber’ for ‘deinem Zauber’.) However, for those for whom this is more important, there could be no doubting the vanished lustre of his voice as a voice. The contrast is not quite so simple as that, for sometimes — the final movement was a particularly notable example — the voice had gained a pronounced beat; moreover, pitch could sometimes be more hinted at than centred. Nevertheless, Hampson’s sincerity remained a palpable constant.

Melanie Diener, likewise, did not impress in terms of vocal beauty. However, her performance, in tandem with Jurowski’s, hinted at an operatic quality, perhaps frustrated, to Zemlinsky’s inspiration. It is certainly not the only way to perform the work, and sometimes lessened the importance of song and symphony, but at its best, it revealed aspects one might not have suspected. For instance, the fourth movement, ‘Sprich zu mir, Geliebter!’, was taken daringly slowly, yet it soon became apparent that its reimagination almost as an operatic scene could draw attention to the dark malevolence (Die Frau ohne Schatten?) of Zemlinsky’s writing. As for much of the performance, Jurowski highlighted modernistic timbres, where Salonen had emphasised the work’s sometimes overwhelming — and undoubtedly sincere — late-Romanticism. Flutes glanced towards Pierrot lunaire, perhaps even to Le marteau sans maître. (Now there is a thought: Boulez conducts Zemlinsky? Probably not, though he has recently been performing Szymanowski.) The dialogue between solo violin (leader, Pieter Schoeman) and cello (Blaumane again), which introduces the fourth movement, not only granted an opportunity, well taken, for soloists to shine, but was musically captured as a dissonant yet still tonal turning point.

There was drama, too, quite in keeping with, indeed necessary to, the operatic conception. The interlude following the young girl’s song (no.2), in which she laments to her mother the passing of the young prince’s carriage and its crushing of her ruby chain, displayed real anger, putting this listener in mind of passages and attitudes from Schoenberg’s Gurrelieder. And yet, for all the tugging away from a symphonic conception, when the voices fell silent, the final movement’s coda proved integrative in properly symphonic fashion: thematic and dramatic concerns now sounded as one. If I did not quite feel convinced that the different approaches always cohered, there was much to admire and much to consider.

The concert was recorded for broadcast on BBC Radio 3 on 1 February. Readers may therefore make up their own minds, and are warmly encouraged to do so.

Mark Berry

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):