22 Sep 2011
The Passenger, ENO, London
The circumstances behind Mieczysław Weinberg’s The Passenger at the ENO, London, are extraordinary.
Following highly successful UK premières of Salieri’s Falstaff (in 2003) and Trofonio’s Cave (2015), this summer Bampton Classical Opera will present the first UK performances since the late 18th century of arguably his most popular success: the bitter comedy of marital feuding, The School of Jealousy (La scuola de’ gelosi). The production will be designed and directed by Jeremy Gray and conducted by Anthony Kraus from Opera North. The English translation will be by Gilly French and Jeremy Gray. The cast includes Nathalie Chalkley (soprano), Thomas Herford (tenor) and five singers making their Bampton débuts:, Rhiannon Llewellyn (soprano), Kate Howden (mezzo-soprano), Alessandro Fisher (tenor), Matthew Sprange (baritone) and Samuel Pantcheff (baritone). Alessandro was the joint winner of the Kathleen Ferrier Competition 2016.
Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of Leoš Janàček’s 1921 domestic tragedy, and not entirely in a good way.
Applications are now open for the Bampton Classical Opera Young Singers’ Competition 2017. This biennial competition was first launched in 2013 to celebrate the company’s 20th birthday, and is aimed at identifying the finest emerging young opera singers currently working in the UK.
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
Handel’s Partenope (1730), written for his first season at the King’s Theatre, is a paradox: an anti-heroic opera seria. It recounts a fictional historic episode with a healthy dose of buffa humour as heroism is held up to ridicule. Musicologist Edward Dent suggested that there was something Shakespearean about Partenope - and with its complex (nonsensical?) inter-relationships, cross-dressing disguises and concluding double-wedding it certainly has a touch of Twelfth Night about it. But, while the ‘plot’ may seem inconsequential or superficial, Handel’s music, as ever, probes the profundities of human nature.
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
A skewering of the preening pretentiousness of the Pre-Raphaelites and Aesthetes of the late-nineteenth century, Gilbert and Sullivan’s 1881 operetta Patience outlives the fashion that fashioned it, and makes mincemeat of mincing dandies and divas, of whatever period, who value style over substance, art over life.
Irish mezzo-soprano Tara Erraught demonstrated a relaxed, easy manner and obvious enjoyment of both the music itself and its communication to the audience during this varied Rosenblatt Series concert at the Wigmore Hall. Erraught and her musical partners for the evening - clarinettist Ulrich Pluta and pianist James Baillieu - were equally adept at capturing both the fresh lyricism of the exchanges between voice and clarinet in the concert arias of the first half of the programme and clinching precise dramatic moods and moments in the operatic arias that followed the interval.
This Sunday the Metropolitan Opera will feature as part of the BBC Radio 3 documentary, Opera Across the Waves, in which critic and academic Flora Willson explores how opera is engaging new audiences. The 45-minute programme explores the roots of global opera broadcasting and how in particular, New York’s Metropolitan Opera became one of the most iconic and powerful producers of opera.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
The first production of Ryan Wigglesworth’s first opera, based upon Shakespeare’s The Winter’s Tale, is clearly a major event in English National Opera’s somewhat trimmed-down season. Wigglesworth, who serves also as conductor and librettist, professes to have been obsessed with the play for more than twenty years, and one can see why The Winter’s Tale, with its theatrical ‘set-pieces’ - the oracle scene, the tempest, the miracle of a moving statue - and its grandiose emotions, dominated as the play is by Leontes’ obsessively articulated, over-intellectualized jealousy, would invite operatic adaptation.
Today, Wexford Festival Opera announced the programme and principal casting details for the forthcoming 2017 festival. Now in its 66th year, this internationally renowned festival will run over an extended 18-day period, from Thursday, 19 October to Sunday, 5 November.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
The circumstances behind Mieczysław Weinberg’s The Passenger at the ENO, London, are extraordinary.
Everything about the Holocaust packs a powerful emotional punch, and rightly so.
Something insane descended on this world at that time — in Nazi-occupied lands, in Stalinist Russia, and beyond, that was so catastrophic that we must never forget. Zofia Posmysz’s original novel was based on her own experiences at Auschwitz, and Weinberg’s family perished. Posmysz appears at the end of performances and is deservedly applauded, for she symbolizes the triumph of good over evil, values we all want to believe in. This gives The Passenger such potent extra-musical experience that it’s more a communal homage than an opera.
David Pountney’s production, premiered at Bregenz, is amazing. Visually it’s so striking that it takes your breath away. This production, with designs by Johan Engels, costumes by Marie-Jeanne Lecca and lighting by Fabrice Kebour makes the best possible case for this opera. No-one can come away unmoved by this set, or by the intelligence of the direction. This production absolutely makes the case for this opera as theatrical experience.
Everything’s bleached and pristine, so unnaturally bright it hurts the eye. Like Lisa Franz herself. Franz was a camp guard in Auschwitz. Lisa and Walter have been married 15 years but he’s never known about her past. “But I did nothing bad” she says. Perhaps. However, anyone connected to Auschwitz was tainted, just by association. Even victims suffer survivor guilt. Think of Primo Levi.
The revelation was provoked by the sight of another passenger on board ship who reminds Lisa of Marta, her favoured prisoner. In the original book, Posmysz wondered what had happened to her own persecutor, who’d apparently escaped retribution, so it’s an excellent plot device, framing an account of life in camp. Perhaps this is a key to interpreting the two parts of the opera. The First Act is more consciously dramatic, while in the Second, drama is imposed on a “normal” account of a thoroughly abnormal situation.
Music and text in the First Act are didactic to an extreme, which makes for good theatre. The orchestration is loud, strident and jarring, whipping up an excited emotional response. Subtle it is not, though, for the text is unbelievably stiff. Maybe it’s the English translation, originally by David Fanning, adapted by David Pountney for this performing edition. Perhaps they’re deliberately trying to present the singers as automatons, but this undermines the very real emotions characters like these might have. In Lisa’s case this is understandable because the character is in such denial she’s hardly human. Excellent performance by Michelle Breedt. If we never get to depths with what makes Lisa what she is, it’s not through any lapse in Breedt’s performance. It’s the script. Lisa’s husband, Walter, for example, reacts to her revelation in stylized clichés. Even the sturdy Kim Begley can’t make Walter feel real. Walter’s not evil. He, too, has been betrayed by the big lie, and deserves more sympathy.
Unfortunately, characterizations in the Second Act are equally cardboard. This is by far the better part of the opera in musical terms, where superficial but emotive B-movie shock gives way to moments of lovely writing, particularly in the arias where the women sing of their pasts and express their solidarity for one another. Excellent playing — evocative basses and deeper strings, a beautiful flute line. The ENO orchestra, conducted by Richard Armstrong, at its best.
Carolyn Dobbin as Hannah and Giselle Allen as Marta
The script, however, doesn’t reflect the greater subtlety in the score. Giselle Allen plays Marta with statuesque dignity. Her stage presence fills the role, but it’s her ability that comes over, rather than the material she has to work with. Each of the other women are characterized by nationality rather than much personality, though what they sing is uplifting. Leigh Melrose.s Tadeusz is strongly sung, but the subplot of love, violin and mad waltz has more potential than is developed.
There’s a lot of Holocaust-exploitation around, but The Passenger is most certainly sincere and honourable. The problem may be in the inherent difficulty of turning subjective experience into slightly more objective art. Such events are so painful that it’s perfectly human to need to block the extremes of pain. Good intentions don’t necessarily lead to great art or depth of perception. Again, remember Primo Levi and the price he paid for his brilliance.
Another difficulty stems from the circumstances in which the opera was written. Weinberg was in the Soviet Union, a repressive regime, where political considerations prevailed over art. The aria about “the freedom of the steppes” rings hollow when you think of reality. Moreover, there was and is a long history of anti-semitism in Russia and in Poland. Different solutions to Hitler, but similar agendas regarding Jews. Obviously not all inmates of Auschwitz were Jewish, and thousands of Catholic Poles were exterminated too. They must not be forgotten. But the world associates Auschwitz with the Holocaust and with Jews, and with death factories. So it’s not easy to hear lines like “I’m a Jew, we’re meant to die”, even if it’s in context. No-one is meant to die. There are millions of individual stories, all important, but the Holocaust was so all-encompassing that it needs broad perspective.
Michelle Breedt as Lisa and Giselle Allen as Marta
Since this production was based on a new performing edition, there might have been opportunities to tighten the orchestration and especially the libretto, by Alexander Medvedev. Even Poutney has said, it was the subject tof this opera that drew him to Weinberg. What works fine in a novel does not lend itself to the restraints of opera. The Passenger is Weinberg’s masterpiece, far more daring than The Portrait, and as such deserves stringent editing. Weinberg may now be highly fashionable, but he isn’t Shostakovich. Even As a theatrical and emotive experience, The Passenger works in this production. But more depth and less breadth would make it more satisfying as opera.
Incidentally, I kept hearing Peter Grimes (particularly the Sea Interludes) in this music, so I was delighted afterwards to read David Nice’s programme notes about the influence of Benjamin Britten. Nice mentions Peter Grimes in connection with Shostakovich, but perhaps Weinberg also knew Peter Grimes and what the character meant. Another reminder that Aldeburgh was not insular and is part of a greater European tradition.