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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?
‘Lovers and madmen have such seething brains,/ Such shaping fantasies,
that apprehend/ More than cool reason ever comprehends.’
21 Sep 2011
Heart of a Soldier, San Francisco
The house lights dimmed, SFO General Director David Gockley instructed us to stand and sing the Star Spangled Banner. This crucial moment revealed the intentions and complexities of this fine production at San Francisco Opera.
We immediately knew that we were not before San Francisco’s altar to operatic art but rather at an altar of national sentiment. Christopher Theofanidis and Donna di Novelli’s Heart of a Soldier is not great art, nor is it political or historical tragedy. It is what it sets out to be — an account. Strangely, and perhaps this was its hidden intention, it distills the destruction of New York’s World Trade Center to some very small components — a few men and women whose lives were and are simply insignificant to the larger historical perspectives of the twenty-first century.
San Francisco Opera pulled out its biggest guns to accomplish this task. Ring director Francesca Zambello created a slick and smart production, minimal in concept though maximal in execution (it was complex). It toyed with a few levels of two white high rise towers, a few scenic screens, some with projections, and a couple of sliding platforms.
The libretto held thirty named roles that San Francisco Opera covered with fourteen singers, led by no less than American baritone Thomas Hampson as Rick Rescorla, security chief at the WTC. Mr. Hampson obviously reveled in portraying this more colorful than interesting character who was, might we say, more headstrong than heroic.
SFO principal guest conductor Patrick Summers was at the helm of all these folks, plus a standard sized chorus and a modestly endowed Romantic era orchestra. There was remarkably little percussion limited to the service of orchestral color. Battle sounds were modest electronic reproductions of the real thing.
The key to understanding this remarkable evening is to take yourself back to that terrible day, as you could not help but do in anticipation of the performance. Thus it was already emotionally laden before the fact.
For most of us the destruction of the World Trade Center was a small event, which is to way it was the size of our television screen. What were certainly awesome roars emitted by the collapsing towers were no louder than the voices of those begging for news of loved ones, the visual images of the still standing towers were even smaller than these anonymous tortured faces.
Heart of a Soldier captured the anonymity of this calamity by recounting the life of but one of its 3000 victims, a life however that was fulfilled by its death in battle. This victim, Rick, was a soldier, his story was told in scenes in which he was among many soldiers on the many battlefields on which they fought. Justness of cause was never mentioned. It was simply life on a battlefield, the battlefield of life where finally you too will die. It was a metaphor for all its victims, at once huge and minuscule.
There was huge art involved in creating this opera. Donna di Novelli’s libretto was the structure, stating its themes and images, developing them and recapitulating all these themes on that fateful September 11, 2001. It might have seemed contrived except we soon perceived that these conceits were in fact structural, creating brief lyric musical spaces as well as the arc of the story. The lyric moments were however always too brief, never indulging in what were the inherently wrenching emotions we had braced ourselves to endure and maybe finally wished we had.
The score by Christopher Theofanidis was based on American musical vocabulary, our open fifths and fourths, our primitive dance forms and our chugging minimalism. Its musical sophistication was stratospheric — Mr. Theofanidis’ brilliant orchestration would have made Berlioz green with envy, his harmonic transports would have cowed Richard Strauss.
While the premise of Heart of a Soldier was challenging on so many levels, Mr. Theofanidis’ score simply was not. One longed for a fugue or at least some sense of music taking on a life of its own, music that transcended the word and the literal and pushed us to the edge of our sensibilities and our endurance, like 9/11 had. This splendidly beautiful music did not.
Rick Rescorla’s best friend Dan Hill was portrayed by tenor William Burden in a quite convincing and moving characterization of this simple American mercenary who converted to Islam. Rick’s second wife Susan was enacted by Melody Moore who achieved the simple vivacity of character asked by the libretto in vibrant voice. The opera’s lack of emotional indulgence was echoed by its absence of vocal indulgence, even Mr. Hampson was given but one small opportunity to place his operatic art before Rick’s swagger. Of the secondary roles only the medic Tom beautifully sung by Michael Sumuel and his girlfriend Juliet sung by Adler Fellow Nadine Sierra were offered somewhat extended opportunities for lyric expansion.
The final image was neither word nor music, it was simply the tableau of Dan Hill knelt in Islamic prayer and Susan Rescorla, arms uplifted sifting the dust of 9/11 through her fingers. It was the only emotionally overpowering moment of the performance.
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