Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Santa Fe: Secondary Mozart in First Rate Staging

Impresario Boris Goldovsky famously referred to La finta giardiniera as The Phony Farmerette.

Regimented Daughter in Santa Fe

At Santa Fe Opera, Donizetti’s effervescent The Daughter of the Regiment can’t quite decide what it wants to be when it grows up.

Santa Fe’s Celebratory Jester

Santa Fe Opera noted a landmark two-thousandth performance in their distinguished history with a stylish new production of Rigoletto.

Sibelius Kullervo, BBC Proms, London

Why did Jean Sibelius suppress Kullervo (Op7, 1892)? There are many theories why he didn't allow it to be heard after its initial performance, though he referred to it fondly in private.

Aïda at Aspen

Most opera professionals, including the individuals who do the casting for major houses, despair of finding performers who can match historical standards of singing in operas such as Aïda. Yet a concert performance in Aspen gives a glimmer of hope. It was led by four younger singers who may be part of the future of Verdi singing in America and the world.

Prom 53: Shostakovich — Orango

One might have been forgiven for thinking that both biology and chronology had gone askew at the Royal Albert Hall yesterday evening.

Written on Skin at Lincoln Center

Three years ago I made what may have been my single worst decision in a half century of attending opera. I wasn’t paying close attention when some conference organizers in Aix-en-Provence offered me two tickets to the premiere of a new opera. I opted instead for what seemed like a sure thing: William Christie conducting some Charpentier.

La Púrpura de la Rosa

Advertised in the program as the first opera written in the New World, La Púrpura de la Rosa (PR) was premiered in 1701 in Lima (Peru), but more than the historical feat, true or not, accounts for the piece’s interest.

Pesaro’s Rossini Festival 2015

The 36th Rossini Opera Festival in Rossini’s Pesaro! La gazza ladra (1817), La gazzetta (1816) and L'inganno felice (1812) — the little opera that made Rossini famous.

Santa Fe: Placid Princess of Judea

Unlike the brush fire in a distant neighborhood of the John Crosby Theatre, Santa Fe Opera’s Salome stubbornly failed to ignite.

Airy and Bucolic Glimmerglass Flute

As part of a concerted effort to incorporate local color and resonance into its annual festival, Glimmerglass has re-imagined The Magic Flute in a transformative woodland setting.

Glimmerglass Conquers Cato

Bravura singing and vibrant instrumental playing were on ample display in Glimmerglass Festival’s riveting Cato in Utica.

Energetic Glimmerglass Candide

Bernstein’s Candide seems to have more performance versions than Tales of Hoffmann.

Die Eroberung von Mexico in Salzburg

That’s The Conquest of Mexico, an historical music drama composed in 1991 by German composer Wolfgang Rihm (b. 1952). But wait. Wolfgang Rihm construed a few sentences of Artaud’s La Conquête du Mexique (1932) mixed up with bits of Aztec chant and bits of poem(s) by Mexico’s Octavio Paz (d. 1998) to make a libretto.

Scottish Sensation at Glimmerglass

Glimmerglass is celebrating its 40th Festival season with a stylish new production of Verdi’s Macbeth.

Norma in Salzburg

This Salzburg Norma is not new news. This superb production was first seen at the Salzburg Festival’s springtime Whitsun Festival in 2013 with this same cast. It will now travel to a few major European cities.

The power of music: a young cast in a semi-stage account of Monteverdi’s first opera

John Eliot Gardiner conducted a much anticipated performance of Monteverdi’s first opera L’Orfeo at the BBC Proms on 4 August 2015, with his own Monteverdi Choir and English Baroque Soloists.

Cold Mountain Wows Audience at Santa Fe World Premiere

On August 1, 2015, Santa Fe Opera presented the world premiere of Cold Mountain, a brand new opera composed by Pulizer Prize and Grammy winner Jennifer Higdon.

Manon Lescaut, Munich

Puccini’s Manon Lescaut at the Bayerische Staatsoper, Munich. Some will scream in rage but in its austerity it reaches to the heart of the opera.

Proms Saturday Matinée 1

It might seem churlish to complain about the BBC Proms coverage of Pierre Boulez’s 90th anniversary. After all, there are a few performances dotted around — although some seem rather oddly programmed, as if embarrassed at the presence of new or newish music. (That could certainly not be claimed in the present case.)

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):