15 Jul 2011
Seven Angels, London
Luke Bedford’s first opera, Seven Angels, had its London premiere at the Linbury Studio Theatre, London.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no less than seven concerts in this season’s NTR ZaterdagMatinee series feature works by Adams, including this concert version of his first opera, Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the Royal Concertgebouw, Daniele Gatti, came together for their first engagement in a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and Wiener Philharmoniker, to hear these three top orchestra perform their series programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
Luke Bedford’s first opera, Seven Angels, had its London premiere at the Linbury Studio Theatre, London.
Bedford is one of the most promising British composers, some of whose work has almost become basic repertoire, by new music standards. He’s the first composer-in-residence at the Wigmore Hall. For more background, please read the interview he gave recently to Opera Today.
Seven Angels is loosely based on John Milton’s Paradise Lost, but it’s not a literal, or even literary account. It’s not even a typical opera where singing leads music. Instead, the drama unfolds from the music, almost more like an extended tone poem, with voices. This is a work by a composer who is primarily a musician, although he has a special affinity for writing for voice.
Seven Angels is allegory, and like allegory, it works obliquely. Seven angels descend to earth and find it barren. What has happened to the Garden of Eden? The angels don’t know, so they use their intuition to imagine backwards how things might have come to pass. It’s not narrative in the usual sense, as the characters are building the story as they go along. They don’t know the answers but work towards them by listening and using their instincts, as should we. This is more than just a tale about of environmental ruin. The noisiest section in the work was inspired by a real conference where politicians debated what to do with starving nations, while they themselves feasted and made empty promises. Because the vocal writing here is so dramatic, it’s easy to mistake this posturing for the message of the opera. The angels are imagining themselves as conference delegates and shout worthy slogans. But the point is that the politicians’ words are hollow.
Like the expressive markings on a score, words are an aid to interpretation but they aren’t the music itself. Because the staging, by John Fulljames and The Opera Group, was devised as the music itself developed, the production gives fairly strong clues as to what this opera is really about. The stage is covered in books — hundreds of books, millions of words. The background is a filmed projection of printed pages. Sometimes the words are legible, sometimes not — quantity rather than quality. The subjects are irrelevant. This is a deluge of unprocessed data, a cacophony of text without meaning.
Significantly, the angels don’t read books to find out the history of the planet. They follow their instincts and act out in role-play. Two angels become King and Queen! If there were two, they made a third. So another angel becomes The Prince. He’s voracious, obsessively tearing pages from books and stuffing them into his mouth, until his belly grows so large it seems he’ll burst. He’s consuming, but consuming what? Is it content that he’s consuming, or paper and pages, irrespective of sustenance?
Only when the books start to run out does the Prince see himself, reflected in the metal at the bottom of his plate. Later, the angels act out a Conference where authority figures opine piously about environmental waste, in stylized declamation. The table they’re sitting at is made of books, piled high. Then the books begin to topple, like the Tower of Babel. Yet again, the point is that words alone fail to communicate.
Rhona McKail as the Waitress and Christopher Lemmings as the Prince
Bedford’s Seven Angels as a musical evolution whose secrets are encoded in the orchestration, both vocal and instrumental. It should be studied in concert performance to focus on the musical logic, for this writing is subtle and inventive. The opera starts with a mysteriously opaque murmur that gradually takes shape. Just as the Bible describes Seven Days of Creation, the music moves in plateaux, ideas developing in groups, then moving onwards to new planes. Great contrasts. As the angels get into their imaginative stride, the pace quickens with brightly agitated ostinato, moments of wit and exuberance, before the angels gradually come to realize the tragedy that has happened.
The orchestration is quite singular. Low-pitched winds and trumpet, four violas, contrabass and bassoon/contrabassoon, piano and a panoply of percussion and sound effects. Darkness, mystery, ambiguity. What is that mournful wailing towards the end? It is the song of the contrabassoon, bizarre but surprisingly beautiful. Percussion and sound effects like the analogue radio create atmospheric complexity. In this context, even the familiar sound of a violin seems shocking, when we’ve been lulled by the four viola chorus.
There is a strong integration between vocal and non-vocal forces. The violas rumble, a singer snores. The angels stand in line, snapping the pages of books, so the sound becomes another form of percussion. It’s remarkably effective, and might be an element of staging that survives into future productions. When the angels return to the heavens, there’s a wild whirring sound as if time itself were being reversed. Extraordinarily vivid.
(Left to Right) Christopher Lemmings as the Prince, Owen Gilhooly as the General, Keel Watson as the King, Emma Selway as the Queen, Joseph Shovelton as the Industrialist
This libretto, by Glyn Maxwell, “sings” even on the page, for text that is sung is music, not mere shapes on a page. Bedford translates it extremely sensitively. Each angel is distinctive, and lines can be heard clearly when needed, retreating into the whole as instruments do, when a more diffuse effect is needed. No heroic feats of gymnastic singing needed. These angels are feeling their way into human situations. The lines are semi-conversational, with occasional flights of wild fantasy (the queen in particular — a telling psychological touch). This gives expressive freedom and must make it a pleasure to sing. I can imagine whatSeven Angels might be like with truly top rank singers, but these communicate well. It’s almost an anachronism to refer to these singers as “cast” because they function like the musicians of the Birmingham Contemporary Music Ensemble do, individuals as part of a whole unit. Nicholas Collon conducts.
For an opera where musical values mean so much, the staging is integral to the production. I specially loved the images of the cosmos, white specks of light flickering in darkness, replicated in filmed projections and in the costumes the singers wear. Grey jackets, like the ash on the barren desert they visit. Books are lined up in rainbow colours: an image of the Paradise that’s been lost. Luke Bedford’s Seven Angels is how opera should be done, libretto and staging growing with the music from an early stage. It’s an extremely rewarding experience, much more emotionally satisfying than a lot of recent new opera. It’s not, however, quick-fix like musical fast food, to be consumed mindlessly. The finest meals are the ones that nourish, not the ones that come in fancy plastic packaging.