13 Aug 2011
Théodore Gouvy’s Iphigénie en Tauride
Gounod you know, but how about Gouvy?
Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.
On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman theatre of Aspendos near Antalya in southern Turkey is not an arena or amphitheatre at all, so there are not nearly as many ghosts of gored gladiators or dismembered Christians to disturb the contemporary feng shui as in other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014 by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings
On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!
At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.
This elegant, smartly-paced film turns Gluck’s Orfeo into a Dostoevskian study of a guilt-wracked misanthrope, portrayed by American countertenor Bejun Mehta.
Ossia Il barbiere di Siviglia. Why waste a good tune.
In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.
Both by default and by merit Il barbiere di Siviglia is the hit of the thirty-fifth Rossini Opera Festival. But did anyone really want, and did the world really need yet another production of this old warhorse?
Armida (1817) is the third of Rossini’s nine operas for the Teatro San Carlo in Naples, all serious. The first was Elisabetta, regina di Inghilterra (1815), the second was Otello (1816), the last was Zelmira (1822).
Gounod you know, but how about Gouvy?
According to the booklet essay in this CPO set of Théodore Gouvy’s Iphigénie en Tauride, the composer enjoyed wide respect in his lifetime (1819-1898), and this oratorio was his most successful work. Hearing it both explains the extent of his reputation during his life and why even Gouvy’s most successful work slipped into utter obscurity.
Herbert Schneider’s essay (translated by Nicholas Smith) also stipulates that Gouvy reviled Wagner and decried what was for Gouvy modern music’s “distancing” from “the ensembles, the finales, and melodic treatment of the voices.” Gouvy shows himself to be a master of choral writing in his score for this Iphigénie, with no fewer than 16 of this set’s 26 tracks listing “Choeur” participation. The Kantorie Saarlouis performs these sections beautifully, although they are not able to distinguish between the “Greeks,” “Furies” and “Scythians” the libretto depicts, for Gouvy’s great failing comes in characterization and drama. A blood-thirsty crowd calling for human sacrifice doesn’t sound all that more urgent than another group mourning in exile. Most of these passages are in minor keys, with simple but effective orchestral gestures. But that element of risk found in great art never appears in Gouvy’s work. Each section of the text is neatly compartmentalized, a tidiness that begins to feel routine very quickly. The very elegance and formal rigor that earned him such praise in his time fails him in ours, as his music only superficially captures the essence of the dark and blood-thirsty story of Iphigénie, who is forced to lead sacrifices and very nearly kills her own brother.
In the more dramatic exchanges between Iphigénie and Thoas, who compels her to perform the sacrifices, Gouvy does dare to have his Iphigénie shout out in distress, but those rare outbursts only heighten the disparity between most of the music’s professional sheen and the swirling passions of the text. Not helping matters is the unsteady vocalism of the Iphigénie, Christine Maschler. The body of the voice has a sour character, and she lunges precariously at high notes. Her male counterparts are more successful, with Benjamin Hulett in the tenor role of Orest’s friend Pylades showing a lot of promise, his voice sweet and yet powerful. Vinzenz Haab sings a stalwart Orest and Ekkehard Abele provides the expected bass aura of villainy very well as Thoas.
Conductor Joachim Fontaine and Le Grand Société Philharmonique deliver an enthusiastic reading, presenting ably the best of Gouvy’s music - some tasty orchestration, and a facility for pleasant, though not memorable, thematic material. For those who enjoy exploring rare repertoire, this CPO set will be a fine diversion. With a different soprano, this recording might even have earned Gouvy a new bunch of admirers, especially among those who agree that with Wagner, music lost that feel for “melodic treatment of the voices.” As the conclusion drags on and on, however, many more will be glad to have given Gouvy a chance, but feel that the judgment of music history was just and apt.