15 Jul 2011
Seven Angels, London
Luke Bedford’s first opera, Seven Angels, had its London premiere at the Linbury Studio Theatre, London.
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).
There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.
Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.
Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.
Daniele Gatti opened the first series of Royal Concertgebouw Orchestra’s season with a slightly uneven performance of Mahler’s Resurrection Symphony. With four planned, this staple repertoire for the RCO meant to introduce Gatti to the RCO subscribers.
Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.
The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.
Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.
After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took place at the Deutsche Oper Berlin.
Rarely have I experienced such fabulous singing in such a dreadful production. With magnificent voices, Andreas Schager and Dorothea Röschmann rescued Michael Thalheimer’s grotesque staging of von Weber’s Der Freischütz. At Staatsoper Unter den Linden, Alexander Soddy led a richly detailed, transparent and brilliantly glowing Berliner Staatskapelle.
For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.
“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”
When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.
Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an intriguing American double bill of rarities. An experience that was well worth the trip to this desolate ghost town, remnant of industrial West Germany.
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.