Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

J. C. Bach: Adriano in Siria

At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme each season during the next 27 years to exploring the music by Mozart and his contemporaries which was being written and performed exactly 250 years previously.

Bethan Langford, Wigmore Hall

The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.

Tansy Davies: Between Worlds (world premiere)

An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.

Arizona Opera Ends Season in Fine Style with Fille du Régiment

On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.

Il turco in Italia, Royal Opera

This second revival of Patrice Caurier and Moshe Leiser’s 2005 production of Rossini’s Il Turco in Italia seems to have every going for it: excellent principals comprising experienced old-hands and exciting new voices, infinite gags and japes, and the visual éclat of Agostino Cavalca’s colour-bursting costumes and Christian Fenouillat’s sunny sets which evoke the style, glamour and ease of La Dolce Vita.

The Siege of Calais
——
The Wild Man of the West Indies

English Touring Opera’s 2015 Spring Tour is audacious and thought-provoking. Alongside La Bohème the company have programmed a revival of their acclaimed 2013 production of Donizetti’s The Siege of Calais (L’assedio di Calais) and the composer’s equally rare The Wild Man of the West Indies (Il furioso all’isola di San Domingo).

The Met’s Lucia di Lammermoor

Mary Zimmerman’s still-fresh production is made fresher still by Shagimuratova’s glimmering voice, but the acting disappoints

Voices, voices in space, and spaces: Thoughts on 50 years of Meredith Monk

When WNYC’s John Schaefer introduced Meredith Monk’s beloved Panda Chant II, which concluded the four-and-a-half hour Meredith Monk & Friends celebration at Carnegie’s Zankel Hall, he described it as “an expression of joy and musicality” before lamenting the fact that playing it on his radio show could never quite compete with a live performance.

St. John Passion by Soli Deo Gloria, Chicago

This year’s concert of the Chicago Bach Project, under the aegis of the Soli Deo Gloria Music Foundation, was a presentation of the St. John Passion (BWV 245) at the Harris Theater in Millennium Park.

Fedora in Genoa

It is not an everyday opera. It is an opera that illuminates a larger verismo history.

The Marriage of Figaro, LA Opera

On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.

The Tempest Songbook, Gotham Chamber Opera

Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to explore the possibilities of unconventional spaces and unconventional programs that the company has made its hallmark. The results were musically and theatrically thought-provoking, and left me wanting more.

San Diego Opera presents Adams’ Riveting Nixon in China

Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.

Ars Minerva presents Castrovillari’s La Cleopatra in San Francisco

It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.

An Ideal Cast in Chicago’s Tannhäuser

Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.

Madame Butterfly, Royal Opera

Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.

Tosca in Marseille

Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.

Poetry beyond words — Nash Ensemble, Wigmore Hall

The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.

Arizona Opera Presents Magritte Style Magic Flute

On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.

Henry Purcell: A Retrospective

There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.

OPERA TODAY ARCHIVES »

Performances

W. A. Mozart by Barbara Krafft, Salzburg, 1819
28 Aug 2011

BBC Prom 50

In 2008, the late Richard Hickox, founder and then music director of the City of London Sinfonia, commissioned a work from composer Colin Matthews to celebrate the orchestra’s 40th anniversary, which takes place this year.

Benjamin Britten: Variations on a Theme of Frank Bridge; Colin Matthews: No Man’s Land; W.A. Mozart: Requiem in D minor (compl. Süssmayr)

Emma Bell, soprano; Renata Pokupić, mezzo-soprano; Ian Bostridge, tenor; Roderick Williams, baritone; Henk Neven, baritone. Polyphony. City of London Sinfonia. Stephen Layton conductor. BBC Proms, Royal Albert Hall, London, Sunday 21st August 2011.

Above: W. A. Mozart by Barbara Krafft, Salzburg, 1819

 

No Man’s Land received its premiere in this Promenade concert, which was dedicated to Hickox’s memory and reflected his own particular musical passions and interests.

A setting of ‘Airs and Ditties of No Man’s Land’, a sequence of poems by Christopher Reid, Matthews’ work takes the form of a conversation between the ghostly skeletons of two soldiers whose mangled bodies have been left hanging on the barbed wire which separates the opposing forces of the Somme. Captain Gifford (tenor, Ian Bostridge) and Sergeant Slack (baritone, Roderick Williams) reflect on their experiences of war in a discomforting sequence of reminiscences.

In fact, although there are some exchanges of dialogue between the two men, the overall effect of the sequence is less a ‘conversation’ than a series of individual outbursts juxtaposing painful recollections of the battlefield with ironic wartime songs and ballads of the period. The singers, aided by the musical fabric, worked hard to produce a coherent drama, joining together in the more expansive duet passages with a painful lyrical earnestness. Bostridge, in particular, convincingly conveyed the patrician gravity of the Captain; in his first arioso passage, describing the apocalyptic events of the battle — when the “earth erupted/ In fountains of black clay; Ancient trees somersaulted/ And broke their backs; a landscape/ jumped up and ran away.” — his high tenor soared emotively above the chamber orchestra’s occasional moments of poignant harmonic consonance. The physical casting was fortunate too, with Bostridge a tall, imposing figure of aristocratic assertiveness and Williams a more jovial, down-to-earth chap.

Adopting a chamber orchestra with percussion, celeste and a ‘an out-of-tune upright piano of the kind which might have made its way to the Western Front’, Matthews has created an atmospheric score which shockingly contrasts the humorous and the haunting, the sloppily sentimental with the bitingly ironic. In a manner reminiscent of Britten’s skilful pastiches, the idioms of the period — and even actual recordings - are adroitly recreated and integrated in Mahlerian fashion, the instrumentation further enhancing the incongruities between text and timbre. Thus, in a grimly cheery ballad, Williams’ relaxed warm baritone was suitably complemented by his nonchalant stance - an indulgent rubato here and there suggesting a gregarious pub performance — before succeeding to unsettling rhythmic busyness evoking the scurrying of rats in the trenches, and ominous drumrolls heralding Gifford’s disquieting declaration:

I’ll tell you something, Sergeant Slack,
I with they’d told me long before:
The tunes that march men off to war
Are not the same as march them back.

The sequence builds to a powerful conclusion: Slack’s waltz-like ditty is interrupted by dissonant rumblings leading to an instrumental interlude which conveys both compassion and despair. This is followed by Gifford’s recollection of a ‘dream’, an episode dramatising the appalling indifference of those in command to the sufferings of their men, which equals Sassoon in its casual bitterness. In the final exchange, Bostridge’s tenor assumed a hollow ring as, emptied of life, the two men confront the painful truth: the men who fall, not from ‘high-spirits’, not in a ‘swoon’, these men, “who go into no man’s land/ [And] won’t be back soon”. A solo violin mordantly underlined the text’s dreadful finality.

With its jarring juxtapositions, its pain and poignancy, and its disconcerting honesties, the overall effect of No Man’s Land is of a sort of War Requiem meets Owen’s ‘Strange Meeting’. Matthews has created a moving, disturbing work of great emotional power, and he was well served by the CLS, whose well-defined playing was adeptly shaped into a dramatic whole by Layton.

The opening work, Britten’s Variations on a Theme of Frank Bridge, was similarly incisive and alert, as Layton gradually increased the rhythmic energy, eliciting a range of colours and sound worlds from his dynamic string players. The performance built from austere beginnings, through the sweet charms of the ‘Romance’, the racing wit of the ‘Aria Italiana’, and the sonorous intensity of the ‘Funeral March’, concluding with a Fugue of spiky vigour.

A pacy performance of Mozart’s Requiem made for an exciting, enlivened second half. Tempi were brisk, and crisp instrumental articulation was matched by the driving impact of Polyphony’s vocal delivery. The individual movements proceeded with scarcely a pause, forming an almost operatic whole. There were consummate performances from all four eminent soloists. Bostridge once again demonstrated his professional poise, and he was joined by baritone Henk Neven, who despite some confident projection found himself a little overwhelmed by an exuberant solo trombone in the Tuba Miram! Renata Pokupić’s mezzo soprano was full of life and colour, while Emma Bell’s bright, well-shaped soprano lines were a particular highlight. It all made for a pleasingly fresh and engaging rendering of this familiar work.

Claire Seymour

Click here to listen to this program.

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):