23 Jun 2011
Peter Grimes, Covent Garden
Willy Decker’s production of Peter Grimes, first seen at Covent Garden in 2004, should perhaps be renamed The Borough.
The former lyric soprano holds up well — and survives the intrusive close-up camerawork of the ‘Live in HD’ transmission
Houston Grand Opera commissioned Cruzar la Cara de la Luna from composer José “Pepe” Martínez, music director of Mariachi Vargas de Tecalitlán, who wrote the text together with Broadway and opera director Leonard Foglia. The work had its world premier in 2010. Since then, it has traveled to several cities including Paris, Chicago, and San Diego.
“Why should I go to hear Plácido Domingo” someone said when Verdi’s I due Foscari was announced by the Royal Opera House. There are very good reasons for doing so.
Music Theatre Wales presented the world premiere of Philip Glass’s The Trial (Kafka) last night at the Linbury, Royal Opera House. Music Theatre Wales started doing Glass in 1989. Their production of Glass’s In the Penal Colony in 2010 was such a success that Glass conceived The Trial specially for the company.
To say that the English Concert’s performance of Handel’s Alcina at the Barbican on 10 October 2014 was hotly anticipated would be an understatement. Sold out for weeks, the performance capitalised on the draw of its two principals Joyce DiDonato and Alice Coote and generated the sort of buzz which the work did at its premiere.
Lyric Opera of Chicago opened its sixtieth anniversary season with a new production of Mozart’s Don Giovanni directed by Artistic Director of the Goodman Theater, Robert Falls.
It was a little over two years ago that I heard Sir Colin Davis conduct the Berlioz Requiem in St Paul’s Cathedral; it was the last time I heard — or indeed saw — him conduct his beloved and loving London Symphony Orchestra.
Part of their Liberty or Death season along with Rossini’s Mose in Egitto and Bizet’s Carmen, Welsh National Opera performed David Pountney’s new production of Rossini’s Guillaume Tell (seen 4 October 2014).
Welsh National Opera’s production of Rossini’s Mose in Egitto was the second of two Rossini operas (the other is Guillaume Tell) performed in tandem for their autumn tour.
In Monteverdi’s first Venetian opera, Il Ritorno d’Ulisse (1641), Penelope’s patient devotion as she waits for the return of her beloved Ulysses culminates in the triumph of love and faithfulness; in contrast, in L’incoronazione di Poppea it is the eponymous Queen’s lust, passion and ambition that prevail.
After the triumphs of love, the surprises: Les Paladins, under their director Jérôme Correas, and soprano Sandrine Piau are following their tour of material from their 2011 CD, ‘Le Triomphe de L’amour’, with a new amatory arrangement.
At the ENO, Puccini's La fanciulla del West becomes The Girl of the Golden West. Hearing this opera in English instead of Italian has its advantages, While we can still hear the exotic, Italianate Madama Butterfly fantasies in the orchestra, in English, we're closer to the original pot-boiler melodrama. Madama Biutterfly is premier cru: The Girl of the Golden West veers closer, at times, to hokum. The new ENO production gets round the implausibility of the plot by engaging with its natural innocence.
Presenting a well-structured and characterful programme, Italian soprano Anna Caterina Antonacci demonstrated her prowess in both soprano and mezzo repertoire in this Wigmore Hall recital, performing European works from the early years of the twentieth century. Assuredly accompanied by her regular pianist Donald Sulzen, Antonacci was self-composed and calm of manner, but also evinced a warmly engaging stage presence throughout.
Bold, bright and brash, Moshe Leiser and Patrice Caurier’s Il barbiere di Siviglia tells its story clearly in complementary primary colours.
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
Willy Decker’s production of Peter Grimes, first seen at Covent Garden in 2004, should perhaps be renamed The Borough.
For in this reading, it is Britten’s powerful choruses which really excite and dominate: a frightening embodiment of Victorian moral hypocrisy and viciousness, the grey-costumed mob ebb and flow, an amorphous mass exerting an oppressive and irresistible moral force.
There’s nothing inherently wrong with this reading, for Britten’s opera contains astonishingly virtuosic ensembles which erupt in Verdian climaxes. Think of the intricate polyrhythms of the shanty, ‘Old Joe has gone fishing’, where the lop-sided 7/4 tempo aptly conveys the community’s struggle both to resist the storm raging outside the tavern and to quell the disturbances caused by Grimes’ presence within. However, something of the rich diversity of the community, and thus of the opera’s colour palette, is lost. At times, the stage seems over-populated and the incessant movement can be messy and distracting; and, it’s hard for the colourful cast of minor roles to emerge with clarity from the crowd. Even in the Prologue, when Grimes is called to account for the apprentice’s death, Matthew Best’s Swallow struggled to contain the baying throng and to assert his authority despite his well-focused voice and confident stage manner.
Jane Henschel as Mrs Sedley
Some of the cast did manage to rise above the multitudes. Roderick Williams was an engaging Ned Keene, his warm tone and lyricism often suggesting a less antagonistic attitude towards Grimes – a much needed counterpoint to the pack’s pitiless cruelty. Martyn Hill’s Rector came effectively to the fore without strain, while Balstrode’s sincerity and authority was well captured by Jonathan Summers. Although Decker’s Mrs Sedley lapses into caricature, Jane Henschel cleverly suggested the latent power she exerts; seated stony-faced at the front of the stage, impervious to the taunts and ridicule of the drinkers in the tavern scene, she later becomes the driving force behind the persecution, leading the community in the unquestioning conformity. Moreover, in an unusually striking presentation of these minor female roles, Auntie (Catherine Wyn-Rodgers) and her two Nieces (Rebecca Bottone and Anna Devin) provided a welcome splash of visual and vocal colour in the tavern scene.
Amanda Roocroft tried hard to inject some warmth and tenderness into what is a rather severe interpretation of Ellen Orford, the village school mistress who yearns to save Grimes from the Borough’s tyranny and from his own inner demons. In a typically strong characterisation, Roocroft was imposing in the face of the community’s onslaught and criticism, using lyricism to oppose their callousness. However, dramatic strength was sometimes achieved at the expense of clear diction and musical accuracy, and an overly wide vibrato at times resulted in a slightly unfocused tone.
Prologue, Ben Heppner as Peter Grimes
But, the real problem with this production is that the fate of its protagonist is never in doubt. There is not ‘conflict’ so much, between the outsider and the community, as total alienation. Estranged and unapproachable from the start, distressingly obsessed with the child’s coffin when Ellen tries to call him away, this Grimes is totally isolated and impossible to ‘save’: in Act 3 he simply covers his head (mimicking his apprentice’s earlier gesture of fear) when Ellen and Balstrode attempt to reach out to him. However, the libretto avows his intent to earn enough money to marry Ellen – he wants to win her respect and not just her pity – and to win acceptance by the community: and, it is hard to believe in this declaration or to understand why anyone would want acceptance from this community.
Ben Heppner certainly conveyed Peter Grimes’ existential despair. He is clearly a victim, and his obvious guilt and remorse should earn our forgiveness. Yet even during his visionary soliloquies and angry counter-attacks, Heppner struggled to retain his place at the centre of the audience’s vision. Moreover, there were major vocal concerns. His duet with Ellen in the Prologue was marred by poor tuning and frequently, as in ‘What harbour shelters peace?’ where the soaring minor ninths recall the tentative optimism and yearning of the Prologue duet, the voice sounded gravelly and strained. Short fragmented phrases and a rough-hewn quality created a sense of breathlessness and unease, but there was no sense of Grimes’ inner lyricism.
(Left to Right) Jane Henschel as Mrs Sedley, Roderick Williams as Ned Keene, Matthew Best as Swallow, Alan Oke as Bob Boles, Stephen Richardson as Hobson, Martyn Hill as Rector, Ben Heppner as Peter Grimes
So many of Grimes’ numbers, originally designed to suit and enhance the vocal characteristics of Peter Pears, are mercilessly exposed; and in ‘The Great Bear’ Heppner could not control the floating head voice required. The descending scales, which convey the futility of Grimes’ hopes that he will turn the skies back and ‘begin again’, were woefully flat. Since so much of the drama is conveyed through harmonic conflicts and relationships, this was both musically dissatisfying and disrupted the dramatic arguments of the work.
These five performances at Covent Garden are dedicated to three recently deceased tenors, each of whom has stamped their own identity on a role defined for so long by Pears: Philip Langridge, Anthony Rolfe-Johnson and Robert Tear. Neither Decker nor Heppner present us with a Grimes to challenge these forebears. Decker’s Grimes does not even look like a fisherman! More importantly, in this opera so much depends on ambiguity (‘perhaps you’re not to blame that the boy died’, says Balstrode): we look in horror but we understand, we shudder but forgive, and this delicate balance between opposing forces – dramatic and musical – needs to be sustained. Decker’s vision is powerful in its clarity but loses the dramatic tension that such ambiguity bestows.
Finally, it is a vigorously anti-religious production, a reading that is perfectly justified by the text and complements the Victorian updating. But, of Britten’s desire “to express my awareness of the perpetual struggle of men and women whose livelihood depends on the sea”, there is little acknowledgement – apart from some Turner-esque backdrops. As the curtain rises in Act 1, the orchestra paints a picture of the dawn labours of a community dependent on the sea: ripples in the clarinet depict the glitter of the rising sun on the tossing waves; a high, ornamented melody recreates the dips and dives of a soaring gull; surges in the brass announce the ocean’s threatening undercurrents. The chorus sing of the duties which draw the fishing families together in hardship, perseverance and solidarity. Decker presents us with a church congregation, literally singing from the same hymn sheet – but the rhythms are those to accompany the hauling of nets and the tugging of sails. Although this dramatic motif returns in a powerful gesture in the closing moments of the opera – as, defeated, Ellen reluctantly takes her place among the worshippers, covering her face with the hymn sheet, to erase her identity and resistance – it sits awkwardly with the musical drama.
(Left to Right) Alan Oke as Bob Boles, Jonathan Summers as Balstrode, Anna Devin as Second Neice, Ben Heppner as Peter Grimes, Rebecca Bottone as First Neice, Roderick Williams as Ned Keene, Catherine Wyn-Rogers as Auntie
John Macfarlane’s set is visually impressive; steeply raked walls and a tilted stage increasing the sense of claustrophobia and repressed chaos. And, conductor Andrew Davis certainly drives the pace incessantly forward with a real sense of urgency and passion, even if he does not always achieve the required fullness of texture and depth of resonance. But ultimately there are too many compromises, and the cast, especially Heppner, are not quite strong enough to make Decker’s vision convincing.