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.
A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure, this new production presents the plot as the dying protagonist’s feverish hallucinations. The result is a frosty retelling of what is arguably Puccini’s most hot-blooded opera. Musically, the performance also left much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang bergetar akan terhapus.” (“The transient cannot hold on to stars lost in the Milky Way; that which quivers will be erased.”) As soprano Tony Arnold sang these words of Tony Prabowo’s chamber opera Pastoral, with astonishingly crisp Indonesian diction, the first night of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
Manitoba Underground Opera took audiences on a journey — literally and figuratively — as it presented its latest installment of repertory opera between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
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.