Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

ETO Autumn 2020 Season Announcement: Lyric Solitude

English Touring Opera are delighted to announce a season of lyric monodramas to tour nationally from October to December. The season features music for solo singer and piano by Argento, Britten, Tippett and Shostakovich with a bold and inventive approach to making opera during social distancing.

Love, always: Chanticleer, Live from London … via San Francisco

This tenth of ten Live from London concerts was in fact a recorded live performance from California. It was no less enjoyable for that, and it was also uplifting to learn that this wasn’t in fact the ‘last’ LfL event that we will be able to enjoy, courtesy of VOCES8 and their fellow vocal ensembles (more below …).

Dreams and delusions from Ian Bostridge and Imogen Cooper at Wigmore Hall

Ever since Wigmore Hall announced their superb series of autumn concerts, all streamed live and available free of charge, I’d been looking forward to this song recital by Ian Bostridge and Imogen Cooper.

Treasures of the English Renaissance: Stile Antico, Live from London

Although Stile Antico’s programme article for their Live from London recital introduced their selection from the many treasures of the English Renaissance in the context of the theological debates and upheavals of the Tudor and Elizabethan years, their performance was more evocative of private chamber music than of public liturgy.

A wonderful Wigmore Hall debut by Elizabeth Llewellyn

Evidently, face masks don’t stifle appreciative “Bravo!”s. And, reducing audience numbers doesn’t lower the volume of such acclamations. For, the audience at Wigmore Hall gave soprano Elizabeth Llewellyn and pianist Simon Lepper a greatly deserved warm reception and hearty response following this lunchtime recital of late-Romantic song.

The Sixteen: Music for Reflection, live from Kings Place

For this week’s Live from London vocal recital we moved from the home of VOCES8, St Anne and St Agnes in the City of London, to Kings Place, where The Sixteen - who have been associate artists at the venue for some time - presented a programme of music and words bound together by the theme of ‘reflection’.

Iestyn Davies and Elizabeth Kenny explore Dowland's directness and darkness at Hatfield House

'Such is your divine Disposation that both you excellently understand, and royally entertaine the Exercise of Musicke.’

Paradise Lost: Tête-à-Tête 2020

‘And there was war in heaven: Michael and his angels fought against the dragon; and the dragon fought and his angels, And prevailed not; neither was their place found any more in heaven … that old serpent … Satan, which deceiveth the whole world: he was cast out into the earth, and his angels were cast out with him.’

Joyce DiDonato: Met Stars Live in Concert

There was never any doubt that the fifth of the twelve Met Stars Live in Concert broadcasts was going to be a palpably intense and vivid event, as well as a musically stunning and theatrically enervating experience.

‘Where All Roses Go’: Apollo5, Live from London

‘Love’ was the theme for this Live from London performance by Apollo5. Given the complexity and diversity of that human emotion, and Apollo5’s reputation for versatility and diverse repertoire, ranging from Renaissance choral music to jazz, from contemporary classical works to popular song, it was no surprise that their programme spanned 500 years and several musical styles.

The Academy of St Martin in the Fields 're-connect'

The Academy of St Martin in the Fields have titled their autumn series of eight concerts - which are taking place at 5pm and 7.30pm on two Saturdays each month at their home venue in Trafalgar Square, and being filmed for streaming the following Thursday - ‘re:connect’.

Lucy Crowe and Allan Clayton join Sir Simon Rattle and the LSO at St Luke's

The London Symphony Orchestra opened their Autumn 2020 season with a homage to Oliver Knussen, who died at the age of 66 in July 2018. The programme traced a national musical lineage through the twentieth century, from Britten to Knussen, on to Mark-Anthony Turnage, and entwining the LSO and Rattle too.

Choral Dances: VOCES8, Live from London

With the Live from London digital vocal festival entering the second half of the series, the festival’s host, VOCES8, returned to their home at St Annes and St Agnes in the City of London to present a sequence of ‘Choral Dances’ - vocal music inspired by dance, embracing diverse genres from the Renaissance madrigal to swing jazz.

Royal Opera House Gala Concert

Just a few unison string wriggles from the opening of Mozart’s overture to Le nozze di Figaro are enough to make any opera-lover perch on the edge of their seat, in excited anticipation of the drama in music to come, so there could be no other curtain-raiser for this Gala Concert at the Royal Opera House, the latest instalment from ‘their House’ to ‘our houses’.

Fading: The Gesualdo Six at Live from London

"Before the ending of the day, creator of all things, we pray that, with your accustomed mercy, you may watch over us."

Met Stars Live in Concert: Lise Davidsen at the Oscarshall Palace in Oslo

The doors at The Metropolitan Opera will not open to live audiences until 2021 at the earliest, and the likelihood of normal operatic life resuming in cities around the world looks but a distant dream at present. But, while we may not be invited from our homes into the opera house for some time yet, with its free daily screenings of past productions and its pay-per-view Met Stars Live in Concert series, the Met continues to bring opera into our homes.

Precipice: The Grange Festival

Music-making at this year’s Grange Festival Opera may have fallen silent in June and July, but the country house and extensive grounds of The Grange provided an ideal setting for a weekend of twelve specially conceived ‘promenade’ performances encompassing music and dance.

Monteverdi: The Ache of Love - Live from London

There’s a “slide of harmony” and “all the bones leave your body at that moment and you collapse to the floor, it’s so extraordinary.”

Music for a While: Rowan Pierce and Christopher Glynn at Ryedale Online

“Music for a while, shall all your cares beguile.”

A Musical Reunion at Garsington Opera

The hum of bees rising from myriad scented blooms; gentle strains of birdsong; the cheerful chatter of picnickers beside a still lake; decorous thwacks of leather on willow; song and music floating through the warm evening air.

OPERA TODAY ARCHIVES »

Performances

Benjamin Grosvenor [Photo courtesy of the BBC]
16 Jul 2011

First Night of the 2011 BBC Proms

The First Night of the Proms seems to be edging back, if a little hesitantly, from the strange, unsatisfying ‘tasting menu’ approach adopted for a few years.

Judith Weir: Stars, Night, Music, and Light (BBC commission, world premiere); Johannes Brahms: Academic Festival Overture, op.80 (arr. Sir Malcolm Sargent); Franz Liszt: Piano Concerto no.2 in A major, S.125; Leoš Janáček: Glagolitic Mass (September 1927 version).

Benjamin Grosvenor (piano); Hibla Gerzmava (soprano); Dagmar Pecková (mezzo-soprano); Stefan Vinke (tenor); Jan Martiník (bass); David Goode (organ); BBC Singers; BBC Symphony Chorus (chorus master: Stephen Jackson); BBC Symphony Orchestra ; Jiři Bělohlávek (conductor). Royal Albert Hall, London, Friday 15 July 2011.

Above: Benjamin Grosvenor [Photo courtesy of the BBC]

 

Last year it reverted to the long-established tradition of a single large-scale work, often but not always choral, with Mahler’s Eighth Symphony . This year we heard an excellent performance of Janáček’s Glagolitic Mass, but with a first half whose programming did not really come off. A fanfare followed by an overture followed by a concerto probably had at least one piece too many, but might have persuaded had the two opening works proved more convincing. It seemed an excellent idea to open with a newly commissioned work and Judith Weir seemed an excellent choice: an often unsung composer whose works have long displayed such fine compositional craft. Stars, Night, Music, and Light , written for chorus and almost the same orchestral forces as Janáček’s mass (minus harps, offstage clarinets, and celesta) sets words from George Herbert’s Man:

The stares have us to bed;
Night draws the curtain, which the sunne withdraws;
Musick and light attend our head.

So far so good, yet the opening kettledrum rolls and brass fanfares signalled a damp squib of a curtain-raiser. My friend put it succinctly: ‘a cross between Vaughan Williams and MGM’. And whilst there seemed to be an aspiration to a briefer (three-minute) version of RVW’s Serenade to Music, it was quite without that work’s magic. ‘Lush’ tonal harmonies, too shop-soiled by popular entertainments for us to be able to take them anything other than ironically, jostled with descending scales on the organ that sounded as if straight from the music hall: Poulenc, but again apparently without irony. There was a little more bite from the brass, but the overall effect was of camp without wit. I suspect that this is destined to remain an ‘occasional piece’.

The following Brahms Academic Festival Overture was heard with Sir Malcolm Sargent’s additional part — restoration, if you will — for chorus at the close: the ‘Gaudeamus igitur’, with an ‘occasional’ final line from Sargent: ‘Vivant academiae musicale!’ (‘Long live music colleges!’) If you like that sort of thing, that is the sort of thing you will like; it sounded a bit like an attempt to resurrect  a 1950s world of school prize days. Jiři Bělohlávek took the overture at so swift a pace, despite generally alert playing from the BBC Symphony Orchestra, that it actually sounded quite frantic at times: a first for me and, I hope, a last.

That over with, we were treated to an estimable performance of Liszt’s Second Piano Concerto. If Liszt is not having quite the anniversary year some of us had hoped for — where is Christus or The Legend of St Elisabeth? — then the Proms are to be commended for featuring his music throughout the season. Bělohlávek and the BBC SO immediately sounded much more at ease; I had the impression, rightly or wrongly, that the piece had benefited from greater rehearsal time than the Brahms. Moreover, string tone, previously somewhat wiry, now mellowed and blossomed. That was before Benjamin Grosvenor, at nineteen years old apparently the youngest Proms piano soloist, had played a note. There was nothing jejune about Grosvenor’s performance, which deserved to be taken seriously indeed. From the outset, his pearly piano tone rendered Liszt’s line both clear and meaningful, rhythmic alertness from all concerned adding much to that sense of direction and meaning. Much of the concerto, quite rightly, was taken as chamber music — the real reason that Liszt wrote relatively little ‘pure’ chamber music is that, like Wagner’s, it is there in his larger-scale works — with piano and orchestral contributions nicely shaded, never unduly forced. When the music turned martial, such transformation was never overstated: that vulgarity of which Liszt, not entirely unjustly, has often been accused was not present on this occasion. Indeed, Bělohlávek and Grosvenor proved well attuned to the subtleties of Liszt’s transformational technique, which was to cast such a shadow over the course of twentieth-century music, to the Second Viennese School and beyond. Virtuosity never appeared as mere virtuosity: even the diabolical had something of the classical to it. True, one did not experience the electric shock of Sviatoslav Richter’s glissandi, but one encountered a pianist who seemed to have as sure a grasp of Liszt’s form.  An auspicious Proms debut indeed!

The Glagolitic Mass was given in a new edition by Jiří Zahrádka and Leoš Faltus, which apparently restores passages simplified prior to the first performance in December 1927. According to the programme, the changes included simplification of rhythms, removal of the ‘offstage’ marking for a passage for three clarinets in the ‘Věruju’ (Credo) and cuts to both that movement and the ‘Svet’ (Sanctus). More may be read here concerning the edition, which Zahrádka modestly terms ‘an informative curiosity of sorts’. For what it is worth, I tend to prefer the practice of opening the Mass with the ‘Intrada’, but here we heard the ‘Introduction’, which to my ears fizzles out by comparison. Perhaps it remains more important, however, to recount that the Mass received a performance as impressive as that of the Liszt concerto. One can often tell a great deal — as, indeed one did during the Liszt — from the opening bars of a performance. Such was also the case here, for sharpness of attack, command of the composer’s idioms, and a fine ear for what one might call the ‘pastoral’, did the term not seem so constricting in Janáček’s all-embracing  sound-world, characterised those bars. If the conclusion of the Introduction sounded somewhat sedate, that was my only real cavil. The ‘Slava’ (Gloria) made it clear, as did so much of the rest of the score and its performance, that this was a God of Nature, of wide-open spaces, of pantheistic, Cunning Little Vixen-like wonder. Oddly, then, one proceeds the passages referring to Christ almost as if they were tales of an ancient saga — Bartók’s Cantata Profana came to mind, though it was written slightly later — rather than items of faith relating to the second person of the Holy Trinity. Or at least that is what I did on this occasion, guided no doubt by so fresh and ‘open’ a performance.  Stefan Vinke’s delivery was not without strain, but one can hardly expect Janáček’s lines to be despatched otherwise: crucially, there was imparted a sense of wonder, of intoxicated lyricism. Much the same could be said of Dagmar Pecková’s contributions. Those soloists, the tenor in particular, have the lion’s share of the solo work, but Jan Martiník and Hibla Gerzmava impressed where they could too. It was, though, the combined forces of the BBC Symphony Chorus and BBC Singers who made the greatest vocal impression of all, whether in tossing cries of glory from male to female sections, and back again, or in the beautiful a cappella singing of the ‘Agneče Božij’(Agnus Dei), in which the chorus sounded as dynamically malleable as the orchestra. There was a great deal to praise from the BBC SO too, whether in solo work (the three pairs of kettledrums, or Stephen Bryant’s sweet-toned violin solo at the opening of the ‘Svet’) or in the almost overwhelming closing peroration of the Intrada. The dark, even sinister imprecation of the ‘Agneče Božij’ (no ‘Dona  nobis pacem’ here, be it noted) was indeed first and foremost orchestral. David Goode’s performance, both during the ‘Allegro’ organ solo and elsewhere, was first-class, well-chosen registration and dextrously-navigated changes of manuals turning the monster of the Royal Albert Hall organ into a musical instrument, and a modernistically interesting musical instrument at that. There was no comparison with the puny electronic instrument Sir Colin Davis’s recent Barbican performance had to endure.  And behind, or rather in front of, the vast forces, was the wise, guiding hands of Bělohlávek. He has sounded out of sorts in too many BBC concerts; yet, in the right repertoire, whose idiom he clearly understands, and which he evidently relates to Slavonic (or, more often, Czech) speech rhythms, he remains an impressive musician. For the Glagolitic Mass to come across in so apparently ‘natural’, unforced, yet exultant fashion must have been in good part his doing.

 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):