22 Sep 2011
The Passenger, ENO, London
The circumstances behind Mieczysław Weinberg’s The Passenger at the ENO, London, are extraordinary.
Wigmore Hall has announced the 25 young singer and pianist duos from around the world who have been shortlisted for this prestigious competition, which takes place at Wigmore Hall in September with the generous support of the Kohn Foundation. Details were announced on 27 April during a recital by Milan Siljanov, who won top prize in the 2015 Competition.
Garsington Opera's thrilling new commission for the 2017 Season, Silver Birch, will feature over 180 participants from the local community aged 8-80, including students from primary and secondary schools, members of the local military community, student Foley artists under the guidance of Pinewood Studios and members of Wycombe Women’s Aid.
Opera San Jose has capped a wholly winning season with an emotionally engaging, thrillingly sung, enticingly fresh rendition of Puccini’s immortal masterpiece La bohème.
On Saturday evening April 22, 2017, San Diego Opera presented Giuseppe Verdi’s La traviata at the Civic Theater. Director Marta Domingo updated the production from the constrictions of the nineteenth century to the freedom of the nineteen twenties. Violetta’s fellow courtesans and their dates wore fascinating outfits and, at one point, danced the Charleston to what looked like a jazz combo playing Verdi’s score.
Thomas Adès’s third opera, The Exterminating Angel, is a dizzying, sometimes frightening, palimpsest of texts (literary and cinematic) and music, in which ceaseless repetitions of the past - inexact, ever varying, but inescapably compulsive - stultify the present and deny progress into the future. Paradoxically, there is endless movement within a constricting stasis. The essential elements collide in a surreal Sartrean dystopia: beasts of the earth (live sheep and a simulacra of a bear) roam, a disembodied hand floats through the air, water spouts from the floor and a burning cello provides the flames upon which to roast the sacrificial lambs. No wonder that when the elderly Doctor tries to restore order through scientific rationalism he is told, “We don't want reason! We want to get out of here!”
Is A Dog’s Heart even an opera? It is sung by opera singers to live music. Alexander Raskatov’s score, however, is secondary to the incredible stage visuals. Whatever it is, actor/director Simon McBurney’s first stab at opera is fantastic theatre. Its revival at Dutch National Opera, where it premiered in 2010, is hugely welcome.
In May 2016, Opera Rara gave Bellini aficionados a treat when they gave a concert performance of Vincenzo Bellini’s first opera, Adelson e Salvini, at the Barbican Hall. The preceding week had been spent in the BBC’s Maida Vale Studios, and this recording, released last month, is a very welcome addition to Opera Rara’s bel canto catalogue.
Jonas Kaufmann Mahler Das Lied von der Erde is utterly unique but also works surprisingly well as a musical experience. This won't appeal to superficial listeners, but will reward those who take Mahler seriously enough to value the challenge of new perspectives.
Following Garsington Opera for All’s successful second year of free public screenings on beaches, river banks and parks in isolated coastal and rural communities, Handel’s sparkling masterpiece Semele will be screened in four areas across the UK in 2017. Free events are programmed for Skegness (1 July), Ramsgate (22 July), Bridgwater (29 July) and Grimsby (11 October).
I kept hearing from knowledgeable opera fanatics that the Israeli Opera (IO) in Tel Aviv was a surprising sure bet. So I made my way to the Homeland to hear how supposedly great the quality of opera was. And man, I was in for treat.
At Phoenix’s Symphony Hall on Friday evening April 7, Arizona Opera offered its final presentation of the 2016-2017 season, Gioachino Rossini’s Cinderella (La Cenerentola). The stars of the show were Daniela Mack as Cinderella, called Angelina in the opera, and Alek Shrader as Don Ramiro. Actually, Mack and Shrader are married couple who met singing these same roles at San Francisco Opera.
On Saturday evening April 1, 2017, Placido Domingo and Los Angeles Opera celebrated their tenth year of training young opera artists in the Domingo-Colburn-Stein Program. From the singing I heard, they definitely have something of which to be proud.
The Festspielhaus in Baden-Baden pretty much programs only big stars. A prime example was the Fall Festival this season. Grigory Sokolov opened with a piano recital, which I did not attend. I came for Cecilia Bartoli in Bellini’s Norma and Christian Gerhaher with Schubert’s Die Winterreise, and Anne-Sophie Mutter breathtakingly delivering Mendelssohn’s Violin Concerto together with the London Philharmonic Orchestra. Robin Ticciati, the ballerino conductor, is not my favorite, but together they certainly impressed in Mendelssohn.
Mahler as dramatist! Mahler Symphony no 8 with Vladimir Jurowski and the London Philharmonic Orchestra at the Royal Festival Hall. Now we know why Mahler didn't write opera. His music is inherently theatrical, and his dramas lie not in narrative but in internal metaphysics. The Royal Festival Hall itself played a role, literally, since the singers moved round the performance space, making the music feel particularly fluid and dynamic. This was no ordinary concert.
Imagine a fête galante by Jean-Antoine Watteau brought to life, its colour and movement infusing a bucolic scene with charm and theatricality. Jean-Philippe Rameau’s opéra-ballet Les fêtes d'Hébé, ou Les talens lyriques, is one such amorous pastoral allegory, its three entrées populated by shepherds and sylvans, real characters such as Sapho and mythological gods such as Mercury.
Details of the Royal Opera House's 2017/18 Season have been announced. Oliver Mears, who will begin his tenure as Director of Opera, comments: “I am delighted to introduce my first Season as Director of Opera for The Royal Opera House. As I begin this role, and as the world continues to reel from social and political tumult, it is reassuring to contemplate the talent and traditions that underpin this great building’s history. For centuries, a theatre on this site has welcomed all classes - even in times of revolution and war - to enjoy the most extraordinary combination of music and drama ever devised. Since the time of Handel, Covent Garden has been home to the most outstanding performers, composers and artists of every era. And for centuries, the joyous and often tragic art form of opera has offered a means by which we can be transported to another world, in all its wonderful excess and beauty.”
Whatever one’s own religious or spiritual beliefs, Bach’s St Matthew Passion is one of the most, perhaps the most, affecting depictions of the torturous final episodes of Jesus Christ’s mortal life on earth: simultaneously harrowing and beautiful, juxtaposing tender stillness with tragic urgency.
Lindy Hume’s sensational La bohème at the Berliner Staatsoper brings out the moxie in Puccini. Abdellah Lasri emerged as a stunning discovery. He floored me with his tenor voice through which he embodied a perfect Rodolfo.
Listening to Moritz Eggert’s Caliban is the equivalent of watching a flea-ridden dog chasing its own tail for one-and-half hours. It scratches, twitches and yelps. Occasionally, it blinks pleadingly, but you can’t bring yourself to care for such a foolish animal and its less-than-tragic plight.
A large audience packed into the Wigmore Hall to hear the two Baroque rarities featured in this melodious performance by Christian Curnyn’s Early Opera Company. One was by the most distinguished ‘home-grown’ eighteenth-century musician, whose music - excepting some of the lively symphonies - remains seldom performed. The other was the work of a Saxon who - despite a few ups and downs in his relationship with the ‘natives’ - made London his home for forty-five years and invented that so English of genres, the dramatic oratorio.
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.