22 Sep 2011
The Passenger, ENO, London
The circumstances behind Mieczysław Weinberg’s The Passenger at the ENO, London, are extraordinary.
The Wigmore Hall complete Schubert song series continued with a recital by Georg Nigl and Andreas Staier. Staier's a pioneer, promoting the use of fortepiano in Schubert song. In Schubert's time, modern concert pianos didn't exist. Schubert and his contemporaries would have been familiar with a lighter, brighter sound. Over the last 30 years, we've come to better understand Schubert and his world through the insights Staier has given us. His many performances, frequently with Christoph Prégardien at the Wigmore Hall, have always been highlights.
On 9 January 2017 the London Festival of Baroque Music (formerly the Lufthansa Festival of Baroque Music) announced its programme for 2017. The Festival theme for 2017 is Baroque at the Edge. Inspired by the anniversaries of Monteverdi (450th of birth) and Telemann (250th of death) the Festival explores the ways that composers and performers have pushed at the chronological, stylistic, geographical and expressive boundaries of the Baroque era.
On Thursday 19th January, opera lovers around the world started bidding online for rare and prized items made available for the first time from Opera Rara’s collection. In addition to the 26 lots auctioned online, 6 more items will be made available on 7 February - when online bidding closes - at Opera Rara’s gala dinner marking the final night of the auction. The gala will be held at London’s Caledonian Club and will feature guest appearances from Michael Spyres and Joyce El-Khoury.
Classical Opera’s MOZART 250 project has reached the year 1767. Two years ago, the company embarked upon an epic, 27-year exploration of the music written by Mozart and his contemporaries exactly 250 years previously. The series will incorporate 250th anniversary performances of all Mozart’s important compositions and artistic director Ian Page tells us that as 1767 ‘was the year in which Mozart started to write more substantial works - opera, oratorio, concertos this will be the first year of MOZART 250 in which Mozart’s own music dominates the programme’.
‘[T]hey moderated or increased their voices, loud or soft, heavy or light according to the demands of the piece they were singing; now slowing, breaking of sometimes with a gentle sigh, now singing long passages legato or detached, now groups, now leaps, now with long trills, now with short, or again, with sweet running passages sung softly, to which one sometimes heard an echo answer unexpectedly. They accompanied the music and the sentiment with appropriate facial expressions, glances and gestures, with no awkward movements of the mouth or hands or body which might not express the feelings of the song. They made the words clear in such a way that one could hear even the last syllable of every word, which was never interrupted or suppressed by passages or other embellishments.’
An exceptional Wagner Der fliegende Holländer, so challenging that, at first, it seems shocking. But Kasper Holten's new production, currently at the Finnish National Opera, is also exceptionally intelligent.
A welcome addition to Lyric Opera of Chicago’s roster was its recent production of Jules Massenet’s Don Quichotte.
800 years ago, every book was a precious treasure - ‘written on skin’. In George Benjamin’s and Martin Crimp’s 2012 opera, Written on Skin, modern-day archivists search for one such artefact: a legendary 12th-century illustrated vanity project, commissioned by an unnamed Protector to record and celebrate his power.
It was like a “Date Night” at Staatsoper unter den Linden with its return of Eike Gramss’ 2012 production of Puccini’s Madama Butterfly. While I entered the Schiller Theater, the many young couples venturing to the opera together, and emerging afterwards all lovey-dovey and moved by Puccini’s melodramatic romance, encouraged me to think more positively about the future of opera.
For the Late Night concert after the Saturday series, fifteen Berliners backed up Barbara Hannigan in yet another adventurous collaboration on a modern rarity with Simon Rattle. I was completely unfamiliar with the French composer, but the performance tonight made me fall in love with Gérard Grisey’s sensually disintegrating soundscape Quatre chants pour franchir le seuil, or “Fours Songs to cross the Threshold”.
One of the things I love about the Philharmonie in Berlin, is the normalcy of musical excellence week after week. Very few venues can pull off with such illuminating star wattage. Michael Schade, Anne Schwanewilms, and Barbara Hannigan performed in two concerts with two larger-than-life conductors Thielemann and Rattle. We were taken on three thrilling adventures.
Lyric Opera of Chicago’s original and superbly cast production of Hector Berlioz’s Les Troyens has provided the musical public with a treasured opportunity to appreciate one of the great operatic achievements of the nineteenth century.
The Little Opera Company opened its 21st season by championing its own, as it presented the world premiere of Winnipeg composer Neil Weisensel’s Merry Christmas, Stephen Leacock.
In 2015, Bampton Classical Opera’s production of Salieri’s La grotta di Trofonio - a UK premiere - received well-deserved accolades: ‘a revelation ... the music is magnificent’ (Seen and Heard International), ‘giddily exciting, propelled by wit, charm and bags of joy’ (The Spectator), ‘lively, inventive ... a joy from start to finish’ (The Oxford Times), ‘They have done Salieri proud’ (The Arts Desk) and ‘an enthusiastic performance of riotously spirited music’ (Opera Britannia) were just some of the superlative compliments festooned by the critical press.
How many singers does it take to make an opera? There are single-role operas - Schönberg’s Erwartung (1924) and Eight Songs for a Mad King by Peter Maxwell Davies (1969) spring immediately to mind - and there are operas that just require a pair of performers, such as Rimsky-Korsakov’s Mozart i Salieri (1897) or The Telephone by Menotti (1947).
Now in its 31st year, the 2016 Christmas Festival at St John’s Smith Square has offered sixteen concerts performed by diverse ensembles, among them: the choirs of King’s College, London and Merton College, Oxford; Christchurch Cathedral Choir, Oxford; The Gesualdo Six; The Cardinall’s Musick; The Tallis Scholars; the choirs of Trinity College and Clare College, Cambridge; Tenebrae; Polyphony and the Orchestra of the Age of the Enlightment.
As 2016 draws to a close, we stand on the cusp of a post-Europe, pre-Trump world. Perhaps we will look back on current times with the nostalgic romanticism of Richard Strauss’s 1911 paean to past glories, comforts and certainties: Der Rosenkavalier.
Ah, Loft Opera. It’s part of the experience to wander down many dark streets, confused and lost, in a part of Brooklyn you’ve never been. It is that exclusive—you can’t even find the performance!
Let’s start by getting a couple of gripes out of the way. First, the final act of Die Walküre does not constitute a full-length concert, even with a distinguished cast and orchestra, and with animated drawings fluttering on a giant screen.
When you combine two charismatic New York stage divas with the artistry of Los Angeles Opera, you have a mix that explodes into singing, dancing and an evening of superb entertainment.
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.