27 Aug 2011
Caractacus,Three Choirs Festival, Worcester
Superb performance of Elgar’s epic oratorio Caractacus at the The Three Choirs Festival in Worcester Cathedral.
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.
Bruckner, Bruckner, wherever one goes; From Salzburg to London, he is with us, he is with us indeed, and will be next week too. (I shall even be given the Third Symphony another try, on my birthday: the things I do for Daniel Barenboim ) Still, at least it seems to mean that fewer unnecessary Mahler-as-showpiece performances are being foisted upon us. Moreover, in this case, it was good, indeed great Bruckner, rather than one of the interminable number of ‘versions’ of interminable earlier works.
Superb performance of Elgar’s epic oratorio Caractacus at the The Three Choirs Festival in Worcester Cathedral.
The Three Choirs Festival was founded some 300 years ago, bringing together the choirs of three great cathedral cities — Worcester, Gloucester and Hereford. The Three Choirs epitomize all that is great and good about the English choral tradition. It’s a festival which no-one seriously interested in the genre can miss. The atmosphere is unique, and immeasurably enhances appreciation of the music.
Edward Elgar was very much part of the Three Choirs Festival. He attended without fail, and his music has figured prominently in every Festival for over 100 years. He was a Worcester man by birth, so it was a very special experience to hear this performance of Caractacus in Worcester Cathedral, where Elgar himself would have heard it.
Caractacus is an epic oratorio about an ancient Briton King called Caractacus. Legend has it that he was defeated by the Romans, making his last stand on a hill now known as the Herefordshire Beacon. It’s a spectacular spot, commanding a panoramic view over the Malvern Hills. Ancient fortifications can still be seen on its summit.
History co-exists with the present of Elgar’s own time in Caractacus. “Watchmen alert!” sing the massed choir. Right from the start, Elgar’s Caractacus begins defiantly. “The Roman hordes have girdled in our British coast”. Then Caractacus takes up the call. “Watchmen alert! The King is here!”. The Britons are facing a crisis situation, for soon Caractacus and his men will be taken as slaves to Rome and their ancient Druid religion gradually obliterated.
In 1898, the British Empire was at its peak. Basking in the certainties of their manifest destiny, Victorian Imperialists didn’t register the irony that they were themselves doing to others what the Romans Imperialists did to their ancestors. In the last big chorus, Elgar’s text specifically mentions “the flag of Britain (and) its triple crosses”, ie the Union Flag which didn’t exist until Stuart times, and British dominion “O’er peoples undiscover’d, inlands we cannot know”. Hearing the truculence of this text makes one realize what a shock the 1914-18 war would be to Elgar, and to the certainties of Empire.
Nonetheless, Elgar’s music is exquisite, overcoming the often lugubrious text. He was a Worcester man at heart, who hiked and cycled in the woods around him. Caractacus is very much inspired by the spirit of the landscape around him in the Malverns. The text may be violent, but the music is gloriously pastoral for the most part. The “Woodland Interlude” that begins Scene III is short, but its verdant loveliness pervades the entire work. The Druids worshipped the forces of nature. Dense woodlands were sacred to them just as Worcester Cathedral is to the modern faithful. For Elgar, nature and landscape were almost sacred too. He wrote to a friend (who appears encoded in the Enigma Variations), “the trees are singing my music- or have I sung theirs?”
“The air is sweet, the sky is calm” sings Caractacus, “all nature round is breathing balm O spirits of the hill surround, with waving wings this holy ground”. Peter Savidge’s firm intonation carries authority naturally, without being forced. His diction is so clear that it cuts through the choirs, decisively. He creates Caractacus’s character with warmth and sensitivity, more faithful, perhaps to the spirit of the Druids than to High Victorian arrogance. Just listening to Savidge, you can understand why Claudius, the Roman Emperor, was so impressed by Caractacus’s moral strength that he treated the Britons with respect. Savidge’s O my warriors! was expansive, yet surprisingly tender. Truly “a freeborn chieftain and a people free ...(whose) soul remains unshackled still”.”
Elgar’s forte is the orchestral extension of text, so performance stands or falls on orchestra and conductor. Andrew Davis and the Philharmonia were superlative, technically brighter and sharper than the London Symphony Chorus were for Richard Hickox on their recording almost 20 years ago. Davis delineates the underlying themes so precisely that the music seems to come alive, whispering meaning much as the trees the Druids worshipped whispered meaning to them. Tight dynamics built drama into what might otherwise be fairly stolid Victorian melodrama. When this performance is broadcast on BBC Radio 3 on 3rd September make sure to listen, because this is the new benchmark. Hopefully, a recording may be made available. Worcester, and the Three Choirs Festival are sacred ground to Elgar enthusiasts.
What makes the Three Choirs Festival unique, however, is the quality of the choral singing, which is the whole raison d’être behind this 300 year old tradition. Although at moments it wasn’t easy to make out all the text, the fault lies not with the voices nor with the choirmaster but with the text itself. English is a language which lends itself to vowels rather than consonants, so it’s easy to approximate vocally, which is why it’s near universal today. There were many Caractacus figures in Gaul and in the lands of the Franks, so in theory there might be similar works in French or German, but they’d sound completely different. The relative imprecision of English makes the Triumphal March sympathetic. The Britons are a ragged bunch of wild men, very different to the sophisticated Roman Court, yet they win out since Caractacus is a level-headed fellow.
Brindley Sherratt sang Claudius with such rich resonance that he brought out the depth in the Roman’s personality. The Romans may be the enemy, but Sherratt shows what a fundamentally civilized man Claudius is, for he can show mercy without compromising his power. Stephen Roberts Arch Druid/Bard was also deeply impressive. Judith Howarth reprised Eigen, Caractacus’s daughter. Her voice is in excellent form, still pure and sweet though it’s been 20 years since she sang it with Richard Hickox. In At eve to the greenwood she managed the sudden leap up the register with aplomb. Even better was her When the glow of the evening. Ben Johnson sang Orbin, the Druid whom Eigen is in love with. Johnson’s very young and this is a fairly demanding part, so he did very well indeed. His bright tone is matched by good Italianate looks and an expressive face which will stand him in good stead in opera.
This performance of Elgar’s Caractacus from the Three Choirs Festival at Worcester will be broadcast on BBC Radio 3 after the Proms end in mid September.