22 Apr 2011
Minnesota Opera rescues Herrmann work
There’s more Byron than Brontë in Bernard Herrmann’s 1951 Wuthering Heights.
Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17. Perfection, as one would expect from arguably the finest Rameau interpreters in the business, and that's saying a lot, given the exceptionally high quality of French baroque performance in the last 40 years.
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.
There’s more Byron than Brontë in Bernard Herrmann’s 1951 Wuthering Heights.
That’s the case at least in the Minnesota Opera’s mesmerizing production of the largely forgotten work that opened at St. Paul’s Ordway Center on April 16. Herrmann’s score, completed in neighboring Minneapolis in 1951, is Romanticism writ large and saturated with Weltschmerz. And it all hurts so good!
With the help of librettist — and first wife — Lucille Fletcher Herrmann took much of the agony — but none of the angst — out of Emily Brontë’s 1847 novel. It is now a gentler story; they have softened the narrative line and made these forlorn credible in their passions — and their frustrations. The frame of the 19th-century social novel is still there, but these are people who would have a hard time building meaningful relationships even without the barriers of caste. To make this clear, MO assembled a great production team for a staging that — one hopes — will be seen on other companies.
Only someone with a heart of stone could resist loving Heathcliff as played by Lee Poulis, a Hollywood-handsome baritone who must be spectacular Don Giovanni, a role he has played at Sarasota Opera. He’s moody, to be sure, but Simonson does not place great emphasis on Heathcliff’s origins as a Gypsy foundling taken into the stuffy and inhibited Earnshaw family. And his problems are explained only in part by the social structure of the day. Poulis shrouds him in darkness — that’s what makes him fascinating to women (and at some point in the past to the elder Earnshaw who brought him home from Liverpool).
Ben Wager as Hindley Earnshaw and Victoria Vargas as Nelly Dean
It’s clear that Heathcliff is an unlikely candidate for an enduring Mr. Right in any era. He’s a complex guy — even when “sanitized” and gussied up in fancy duds. (How he comes to wealth so suddenly is left a secret by Brontë.) Thus it’s unavoidable that Catherine Earnshaw will love Heathcliff even after her marriage to colorless Edgar Litton, and that there’s no way out of this dilemma for her.
As Catherine Sara Jakubiac replaced Kelly Kaduce, originally slated to sing the role. Although she might not yet have Kaduce’s polish, Jakubiac may have an even richer and larger voice than Kaduce, the MO favorite who returns to the company as Madama Butterfly next season. Jakubiac made the long solo scene in which Catherine faces the hopelessness of her situation both gripping and engaging.
Equally touching was mezzo Adriana Zabala in writing the confessional letter that leaves no doubt about the miseries of her life with Hindley Earnshaw, sung by bass Ben Wager. Wager, on the other hand, somewhat overplays his addiction to alcohol in a scene that breaks with the overall resolute calm of Herrmann’s score.
Adriana Zabala as Isabella Linton, Victoria Vargas as Nelly Dean, Sara Jakubiak as Catherine Earnshaw and Eric Margiore as Edgar Linton
It’s a pity that as Edgar, Eric Margiore, the only tenor in the cast, has so little to sing. His one aria was lovingly delivered.
Although the part is small, bass-baritone Rodolfo Nieto brought one of the strongest voices in the cast to farmhand — and religious fanatic — Joseph.
One wishes one might have heard more of Jesse Blumberg — one of America’s great young baritones and a MO regular — than was allotted him as Mr. Lockwood in the opening scene.
Herrmann — most famous for such film scores as Citizen Cane and Psycho —otherwise spent his life largely as a conductor. It is not surprising, then, that Wuthering Heights is in concept orchestral, and in Michael Christie MO chose a conductor who knew how to make the most of this fact. Punctuated by many solo moments, Wuthering Heights as drama is essentially through-composed, in light of which Christie kept a sensitive finger on the pulse of the score.
Despite a staging at Portland in 1981 and a concert performance in France last summer, Wuthering Heights has never found its way into the repertory, because — allegedly — Herrmann was offended by any suggestion that he shorten the 3.5 hour work. That the MO performance lasted less than three hours seems to indicate that significant cuts were made in this production. Despite the length of the performance Christie kept attention riveted on the opera.
The sets and costumes by Neil Patel and Jane Greenwood, respectively, were predictable, Wendall K. Harrington brought visual enchantment to the production with the projections of which she now seems the national master. (She was equally successful with her contribution to Ricky Ian Gordon’s Rappahannock County, premiered at the Virginia Arts Festival on April 12.)
This production is part of Minnesota’s New Works Initiative, designed to focus attention on new or neglected work. A “first” for the company, the staging will be filmed in high definitive for digital distribution. (Confession: I set out to read Brontë’s novel for the first time in 65 years, but put it aside half way through. Herrmann’s version of the story is far better entertainment.) Dates for broadcasts and showing have not been set at this time.