13 Aug 2011
Théodore Gouvy’s Iphigénie en Tauride
Gounod you know, but how about Gouvy?
On Thursday evening October 13, Los Angeles Opera transmitted Giuseppe Verdi’s Macbeth live from the Dorothy Chandler Pavilion, in the center of the city, to a pier in Santa Monica and to South Gate Park in Southeastern Los Angeles County. My companion and I saw the opera in High Definition on a twenty-five foot high screen at the park.
Director Richard Jones never met an opera he couldn’t ‘change,’ and Canadian Opera Company’s sumptuously sung Ariodante was a case in point.
“Hi! I’m at the Wigmore Hall!” American mezzo-soprano Jamie Barton’s exuberant excitement at finding herself performing in the world’s premier lieder venue was delightful and infectious. With accompanist James Baillieu, Barton presented what she termed a “love-fest” of some of the duo’s favourite art songs. The programme - Turina, Brahms, Dvořák, Ives, Sibelius - was also surely designed to show-case Barton’s sumptuous and balmy tone, stamina, range and sheer charisma; that is, the qualities which won her the First and Song Prizes at the 2013 BBC Cardiff Singer of the World Competition.
Canadian Opera Company has assembled a commendable Norma that is long on ritual imagery and war machinery.
“If I lacked ears, it would be bad, but still more bearable; but lacking a nose, a man is devil knows what: not a bird, not a citizen—just take and chuck him out the window!”
A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
Francesco Cavalli’s La Calisto was the composer’s ﬁfteenth opera, and the ninth to a libretto by Giovanni Faustini (1615-1651). First performed at the Teatro Sant’Apollinaire in Venice on 28th November 1651, the opera by might have been sub-titled ‘Gods Behaving Badly’, so debauched are the deities’ dalliances and deviations, so egotistical their deceptions.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure, this new production presents the plot as the dying protagonist’s feverish hallucinations. The result is a frosty retelling of what is arguably Puccini’s most hot-blooded opera. Musically, the performance also left much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang bergetar akan terhapus.” (“The transient cannot hold on to stars lost in the Milky Way; that which quivers will be erased.”) As soprano Tony Arnold sang these words of Tony Prabowo’s chamber opera Pastoral, with astonishingly crisp Indonesian diction, the first night of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
New from Oehms Classics, Walter Braunfels Orchestral Songs Vol 1. Luxury singers - Valentina Farcas, Klaus Florian Vogt and Michael Volle, with the Staatskapelle Weimar, conducted by Hansjörg Albrecht.
Manitoba Underground Opera took audiences on a journey — literally and figuratively — as it presented its latest installment of repertory opera between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
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.