22 May 2011
James MacMillan’s Clemency, Royal Opera
James MacMillan has reunited with his librettist, the poet Michael Symmons Roberts, to produce his new opera Clemency.
Calliope Tsoupaki’s latest opera, Fortress Europe, premiered as spring began taming the winter storms in the Mediterranean.
To celebrate its 40th anniversary New Sussex Opera has set itself the challenge of bringing together the six scenes - sometimes described as six discrete ‘tone poems’ - which form Delius’s A Village Romeo and Juliet into a coherent musico-dramatic narrative.
Following highly successful UK premières of Salieri’s Falstaff (in 2003) and Trofonio’s Cave (2015), this summer Bampton Classical Opera will present the first UK performances since the late 18th century of arguably his most popular success: the bitter comedy of marital feuding, The School of Jealousy (La scuola de’ gelosi). The production will be designed and directed by Jeremy Gray and conducted by Anthony Kraus from Opera North. The English translation will be by Gilly French and Jeremy Gray. The cast includes Nathalie Chalkley (soprano), Thomas Herford (tenor) and five singers making their Bampton débuts:, Rhiannon Llewellyn (soprano), Kate Howden (mezzo-soprano), Alessandro Fisher (tenor), Matthew Sprange (baritone) and Samuel Pantcheff (baritone). Alessandro was the joint winner of the Kathleen Ferrier Competition 2016.
Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of Leoš Janàček’s 1921 domestic tragedy, and not entirely in a good way.
Applications are now open for the Bampton Classical Opera Young Singers’ Competition 2017. This biennial competition was first launched in 2013 to celebrate the company’s 20th birthday, and is aimed at identifying the finest emerging young opera singers currently working in the UK.
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
Handel’s Partenope (1730), written for his first season at the King’s Theatre, is a paradox: an anti-heroic opera seria. It recounts a fictional historic episode with a healthy dose of buffa humour as heroism is held up to ridicule. Musicologist Edward Dent suggested that there was something Shakespearean about Partenope - and with its complex (nonsensical?) inter-relationships, cross-dressing disguises and concluding double-wedding it certainly has a touch of Twelfth Night about it. But, while the ‘plot’ may seem inconsequential or superficial, Handel’s music, as ever, probes the profundities of human nature.
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
A skewering of the preening pretentiousness of the Pre-Raphaelites and Aesthetes of the late-nineteenth century, Gilbert and Sullivan’s 1881 operetta Patience outlives the fashion that fashioned it, and makes mincemeat of mincing dandies and divas, of whatever period, who value style over substance, art over life.
Irish mezzo-soprano Tara Erraught demonstrated a relaxed, easy manner and obvious enjoyment of both the music itself and its communication to the audience during this varied Rosenblatt Series concert at the Wigmore Hall. Erraught and her musical partners for the evening - clarinettist Ulrich Pluta and pianist James Baillieu - were equally adept at capturing both the fresh lyricism of the exchanges between voice and clarinet in the concert arias of the first half of the programme and clinching precise dramatic moods and moments in the operatic arias that followed the interval.
This Sunday the Metropolitan Opera will feature as part of the BBC Radio 3 documentary, Opera Across the Waves, in which critic and academic Flora Willson explores how opera is engaging new audiences. The 45-minute programme explores the roots of global opera broadcasting and how in particular, New York’s Metropolitan Opera became one of the most iconic and powerful producers of opera.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
The first production of Ryan Wigglesworth’s first opera, based upon Shakespeare’s The Winter’s Tale, is clearly a major event in English National Opera’s somewhat trimmed-down season. Wigglesworth, who serves also as conductor and librettist, professes to have been obsessed with the play for more than twenty years, and one can see why The Winter’s Tale, with its theatrical ‘set-pieces’ - the oracle scene, the tempest, the miracle of a moving statue - and its grandiose emotions, dominated as the play is by Leontes’ obsessively articulated, over-intellectualized jealousy, would invite operatic adaptation.
James MacMillan has reunited with his librettist, the poet Michael Symmons Roberts, to produce his new opera Clemency.
As with their two previous operatic collaborations, The Sacrifice (WNO, 2007) and Parthenogenesis (Royal Opera, 2009) the work was directed by Katie Mitchell. Clemency premièred at the Royal Opera’s Linbury Studio Theatre on 6th May 2011 (seen 7th May), and the work is a co-commission with Scottish Opera, the Britten Sinfonia and Boston Lyric Opera.
Like the previous two works, the opera examines the interaction between the mythic and the everyday. MacMillan and Symmons Roberts have turned to a slightly curious biblical episode for their source. Abraham and Sarah are visited by 3 strangers, they offer hospitality to the strangers, who inform Sarah that when they return in a year’s time Sarah will have a son, something she disbelieves because of her age. The three then reveal themselves as angels. When asked where they are going the strangers say they are going to the twin towns by the lake (Sodom and Gomorrah), that their business is vengeance. Abraham and Sarah dispute with the angels to try and save the townspeople.
MacMillan, Symmons Roberts and Mitchell have set the opera firmly in the downtrodden present. Alex Eales set showed three rooms side by side, enclosed by picture frames like a religious triptych. The opera opened in silence as Sarah (Janis Kelly, looking suitably dowdy), prepared lunch in the shabby kitchen (stage right) as Abraham (Grant Doyle) entered the living space (stage centre) and busied himself counting money and singing Hebrew to himself unaccompanied. Only after some time did MacMillan bring in the accompaniment of the Britten Sinfonia in a wonderful gesture of expanding the textures.
Abraham and Sarah share lunch, developing Abraham’s blessing into a lovely duet. 3 strangers appear, looking like migrant workers, named the Triplets in the programme (Adam Green, Eamonn Mulhall and Andrew Tortise). Though Abraham and Sarah do not recognise them, they offer hospitality, providing lunch. But MacMillan uses musical means to ensure that we do recognise them. The three sing in the sort of modified homophony familiar from MacMillan’s sacred music. He gives the Triplets their own sound-world which has a wonderfully transfigurative effect, contrasting with Abraham and Sarah with their rich string accompaniment.
The opera was accompanied just by the strings of the Britten Sinfonia, numbering 24 in all. They formed more than a simple accompaniment to the dialogue, the multi-textured strings seemed to lie very much in the rich tradition of British string music. The warm, resonant, interlinked textures seemed to speak much of Abraham and Sarah’s long, warm relationship.
When the Triplets reveal themselves they did so by fire and by speaking in tongues. Here MacMillan’s music took on a numinous quality and Mitchell’s deceptively natural production captured their strangeness and the disturbing effect the presence of three angels had on Abraham and Sarah’s routine existence.
The realisation that the news of the impending baby is a revelation from God was too much for Sarah who went back into the kitchen, contemplating the news in an ecstatic solo.
In a brilliant piece of stage-craft the room shown stage left, is not a separate room but the other half of the centre room, so that when the Triplets, Abraham and Sarah sit round the table we see them facing us in the two rooms. This enabled Doyle and Kelly to react to the men whilst all remained facing us. The Triplets changed into business suits, looking like hit-men complete with guns and to a horrified Abraham and Sarah revealed the sins of the cities (complete with images on their mobile phones) and their planned retribution.
Abraham and Sarah attempted to stop the Triplets, trying to bargain with them on the number of good inhabitants necessary to stop the planned retribution. Here the musical and dramatic set up of the earlier scenes became important as our belief in numinous nature of the Triplets, helped by both MacMillan’s music and Doyle and Kelly’s vividly natural reaction, fed into our understanding of the nature of what Abraham was doing, arguing with the word of God.
The opera finished not in a blaze, but in a quiet contemplation mirroring the opening. As Abraham rushed out after the departed Triplets, Kelly’s Sarah was left contemplating the future of her baby in a world where the twin town had been destroyed.
This was the third opera of MacMillan’s that I had seen and for me it felt the most accessible. MacMillan’s musical language relied quite heavily on the ornamentally inflected chant figures which can be found in much of his sacred music. Owing much to Scottish Gaelic influences, here they took on a Middle-Eastern flavour without ever approaching pastiche. The vocal lines were approachably lyric, full of interest and, where necessary, filled with a sense of the numinous. The principal thing I brought away from the performance was the fine sense of contrast between the music for the Triplets and the multi-layered string accompaniment.
This did not feel like a première run, the performances from all the principals felt so natural and complete, that it seemed as if they had been performing the piece for ever. Doyle and Kelly were completely absorbing as the settled married couple. Green, Mulhall and Tortise as young men only half aware of the disturbance their presence created, were suitably ambiguous as to who the trio really were.. Macmillan used the Tortise’s high tenor register to brilliant effect, and the singer coped admirably with the role’s challenging tessitura. All three formed a finely balanced ensemble.
With no surtitles we relied on the singers diction to enlighten us and generally the diction was excellent, the words crystal clear. Only in the more ecstatic sections did Janis Kelly rather leave us behind.
In the pit, the Britten Sinfonia under conductor Clark Rundell, made a fine rich sound, sonorously expressive. Like the singers, it felt as if the group had been playing this music all their lives.
At only 50 minutes this was quite a short evening’s entertainment, though MacMillan and Symmons Robert’s work is quite intense and will be tricky to place in a longer programme. Our hope must be that now MacMillan will create a companion piece for this wonderful work. The piece is scheduled to be seen in Scotland in 2012.