12 Aug 2011
Saint-Saëns’s Samson et Dalila in Antwerp
Bonus features on opera DVDs usually get generic names, such as “Interview” or “Backstage with ”
Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17. Perfection, as one would expect from arguably the finest Rameau interpreters in the business, and that's saying a lot, given the exceptionally high quality of French baroque performance in the last 40 years.
Twelve years after Opera Holland Park's first production of Francesco Cilea's Adriana Lecouvreur, the opera made a welcome return.
The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre. The world of commercial public opera had only just dawned with the opening of the Teatro San Cassiano in Venice in 1637 and for the first time opera became open to all who could afford a ticket, rather than beholden to the patronage of generous princes. Monteverdi took full advantage of the new stage and at the age of 73 brought all his experience of more than 30 years of opera-writing since his ground-breaking L’Orfeo (what a pity we have lost all those works) to the creation of two of his greatest pieces, Ulysses and then his final masterpiece, Poppea.
Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission. It is a sad state of affairs when a season that includes both Boulevard Solitude and Moses und Aron is considered exceptional, but it is - and is all the more so when one contrasts such seriousness of purpose with the endless revivals of La traviata which, Die Frau ohne Schatten notwithstanding, seem to occupy so much of the Royal Opera’s effort. That said, if the Royal Opera has not undertaken what would be only its second ever staging of Schoenberg’s masterpiece - the first and last was in 1965, long before most of us were born! - then at least it has engaged in a very welcome ‘WNO at the Royal Opera House’ relationship, in which we in London shall have the opportunity to see some of the fruits of the more adventurous company’s endeavours.
If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.
Composed during just a few weeks of the summer of 1926, Janáček’s Slavonic-text Glagolitic Mass was first performed in Brno in December 1927. During the rehearsals for the premiere - just 3 for the orchestra and one 3-hour rehearsal for the whole ensemble - the composer made many changes, and such alterations continued so that by the time of the only other performance during Janáček’s lifetime, in Prague in April 1928, many of the instrumental (especially brass) lines had been doubled, complex rhythmic patterns had been ‘ironed-out’ (the Kyrie was originally in 5/4 time), a passage for 3 off-stage clarinets had been cut along with music for 3 sets of pedal timpani, and choral passages were also excised.
With the conclusion of the ROH 2013-14 season on Saturday evening - John Copley’s 40-year old production of La Bohème bringing down the summer curtain - the sun pouring through the gleaming windows of the Floral Hall was a welcome invitation to enjoy a final treat. The Jette Parker Young Artists Summer Showcase offered singers whom we have admired in minor and supporting roles during the past year the opportunity to step into the spotlight.
Many words have already been spent - not all of them on musical matters - on Richard Jones’s Glyndebourne production of Der Rosenkavalier, which last night was transported to the Royal Albert Hall. This was the first time at the Proms that Richard Strauss’s most popular opera had been heard in its entirety and, despite losing two of its principals in transit from Sussex to SW1, this semi-staged performance offered little to fault and much to admire.
The BBC Proms 2014 season began with Sir Edward Elgars The Kingdom (1903-6). It was a good start to the season,which commemorates the start of the First World War. From that perspective Sir Andrew Davis's The Kingdom moved me deeply.
One is unlikely to come across a cast of Figaro principals much better than this today, and the virtues of this performance indeed proved to be primarily vocal.
Assured elegance, care and thoughtfulness characterised tenor James Gilchrist’s performance of Schubert’s Schwanengesang at the Wigmore Hall, the cycles’ two poets framing a compelling interpretation of Beethoven’s An die ferne Geliebte.
‘Music for a while shall all your cares beguile.’ Dryden’s words have never seemed as apt as at the conclusion of this wonderful sequence of improvisations on Purcell’s songs and arias, interspersed with instrumental chaconnes and toccatas, by L’Arpeggiata.
The acoustic of the gigantic Théâtre Antique Romain at Orange cannot but astonish its nine thousand spectators, the nearly one hundred meter breadth of the its proscenium inspires awe. There was excited anticipation for this performance of Verdi’s first masterpiece.
Richard Strauss may be most closely associated with the soprano voice but this recording of a selection of the composer’s lieder by baritone Thomas Hampson is a welcome reminder that the rapt lyricism of Strauss’s settings can be rendered with equal beauty and character by the low male voice.
Opera Theatre of Saint Louis has once again staked claim to being the summer festival “of choice” in the US, not least of all for having mounted another superlative world premiere.
In past years the operas of the Aix Festival that took place in the Grand Théâtre de Provence began at 8 pm. The Magic Flute began at 7 pm, or would have had not the infamous intermittents (seasonal theatrical employees) demanded to speak to the audience.
High drama in Aix. Three scenarios in conflict — those of G.F. Handel, Richard Jones and the intermittents (disgruntled seasonal theatrical employees). Make that four — mother nature.
The programme declared that ‘music, water and night’ was the connecting thread running through this diverse collection of songs, performed by soprano Lucy Crowe and pianist Anna Tilbrook, but in fact there was little need to seek a unifying element for these eclectic works allowed Crowe to demonstrate her expressive range — and offered the audience the opportunity to hear some interesting rarities.
‘Only make the reader’s general vision of evil intense enough and his own experience, his own imagination, his own sympathy will supply him quite sufficiently with all the particulars.
It is not often that concept, mood, music and place coincide perfectly. On the first night of Opera della Luna’s La Fille du Regiment at Iford Opera in Wiltshire, England we arrived with doubts (rather large doubts it should be admitted)as to whether Donizetti’s “naive and vulgar” romp of militarism and proto-feminism, peopled with hordes of gun-toting soldiers and praying peasants, could hardly be contained, surely, inside Iford’s tiny cloister?
Bonus features on opera DVDs usually get generic names, such as “Interview” or “Backstage with ”
This 2009 staging of Saint-Saens’s reliably goofy Biblical tunefest Samson et Dalila takes the prize for the most apt and amusing title for a bonus feature about the directors (yes, two in this case) of a “Regie” staging: “Amir Zuabi and Omri Nitzan explain the production and staging.” In the more obscure and complex Regie productions, such a bonus feature would probably pay big dividends. In the case of Zuabi and Nitzan’s take on Samson et Dalila, an explanation proves superfluous. One can admire the fact that one director is Israeli (Nitzan) and the other Palestinian (Zuabi), and that they have worked together to update the Biblical setting of the opera to the contemporary Middle East. Nevertheless, what is actually onstage (and before the cameras) is no more challenging to the average intellect than a traditional staging of this deliciously silly but potent opera.
Act one still betrays its origin as an oratorio, with the chorus standing mid-stage, with very little movement. The dress is modern, with khaki battle jackets and long neck scarves serving to suggest a Mideast setting. Sets are minimal. Act two still focuses mainly on Dalila’s bed, albeit with the huge leaves of some desert flower around it (which oddly close on the prostrate Samson at act’s end). Act three is no temple but some sort of bizarre fashion-cum-armory show, with young beauties of both sexes in black underwear, carting bazookas and grenade launchers. Undoubtedly the directors expected to shock with the revised climax, which has Samson in a suicide bomber’s explosive jacket, ready to push the button to bring down the temple when a blackout ends the show. The shock is in how little effect is actually produced, since everything leading to that point has been so innocuous. One can only admire the optimism of the EU Commissioner “for External Relations” who composed a note reprinted in the booklet, claiming that this production will “spearhead a successful and respectful inter-cultural dialogue.” Their Euros at work!
Given all that, any opera performance comes down to musical quality to prove its worth, and this performance actually has a fair amount going for it. After a few unsteady moments at the beginning, conductor Tomáš Netopil gets a rich, precise performance from the Vlaamse musicians. Don’t be surprised to hear some arpeggio sections that suggest Saint-Saens as a precursor to late 20th century Minimalist composers. As Samson, tenor Torsten Kerl is in fine voice, easily reaching up to the higher sections, and with a commanding strength throughout his range. Marianna Tarasova’s Dalila has a bit too much of that hooty quality not unknown in this part, but she is comfortable in the role. In the only other part with a real opportunity to make an impression, Nikola Mijalovič as the High Priest puts out a handsome flow of sound, even while, apparently, sodomizing Dalila. Don’t ask.
Strict traditionalist may get their feathers in a bunch over this production, but really the directors flatter themselves about their political risk-taking. In the end, it’s still Samson at Dalila — for good and bad. Catch this for some decent singing and a tasty performance of the score by the orchestra.