Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Modernity vanquished? Verdi Un ballo in maschera, Royal Opera House, London

Verdi Un ballo in maschera at the Royal Opera House - a masked ball in every sense, where nothing is quite what it seems. On the surface, this new production appears quaint and undemanding. It uses painted flats, for example, pulled back and forth across, as in toy theatre. The scenes painted on them are vaguely generic, depicting neither Boston nor Stockholm, where the tale supposedly takes place. Instead, we focus on Verdi, and on theatre practices of the past. In other words, opera as the art of illusion, not an attempt to replicate reality. Take this production too literally and you'll miss the wit and intelligence behind it.

La Traviata in Ljubljana Slovenia

Small country, small opera house — big ensemble spirit. Internationally acclaimed soprano Natalia Ushakova steps in for indisposed local Violetta with mixed results.

Otello in Bucharest — Moor’s the pity

Bulgarian director Vera Nemirova’s production of Otello for the Romanian National Opera in Bucharest was certainly full of new ideas — unfortunately all bad.

Il trovatore at Lyric Opera of Chicago

For its current revival of the 2006-2007 production of Giuseppe Verdi’s Il trovatore by Sir David McVicar Lyric Opera has assembled a talented quintet of principal singers whose strengths match this conception of the opera.

Schubert’s Winterreise by Matthias Goerne

This Winterreise is the final instalment of Matthias Goerne’s series of Schubert lieder for Harmonia Mundi and it brings the Matthias Goerne Schubert Edition, begun in 2008, to a dark, harrowing close.

Mary, Queen of Heaven, Wigmore Hall

O Maria Deo grata — ‘O Mary, pleasing to God’: so begins Robert Fayrfax’s antiphon, one of several supplications to the Virgin Mary presented in this thought-provoking concert by The Cardinall’s Musick at the Wigmore Hall.

Analyzed not demonized — Tristan und Isolde, Royal Opera House

Wagner’s Tristan und Isolde at the Royal Opera House, first revival of the 2009 production, one of the first to attract widespread hostility even before the curtain rose on the first night.

Florencia in el Amazonas Makes Triumphant Return to LA

On November 22, 2014, Los Angeles Opera staged Francesca Zambello’s updated version of Florencia in el Amazonas.

John Adams: The Gospel According to the Other Mary

John Adams and his long-standing collaborator Peter Sellars have described The Gospel According to the Other Mary as a ‘Passion oratorio’.

A new Yevgeny Onegin in Zagreb — Prince Gremin’s Fabulous Pool Party

Superb conducting from veteran Croatian maestro Nikša Bareza makes up for an absurd waterlogged new production of Tchaikovsky’s masterpiece.

Nabucco in Novi Sad

After the horrors of Jagoš Marković’s production of Le Nozze di Figaro in Belgrade, I was apprehensive lest Nabucco in Serbia’s second city of Novi Sad on 27th October would be transplanted from 6th century BC Babylon to post-Saddam Hussein Tikrit or some bombed-out kibbutz in Beersheba.

La Bohème in San Francisco

First Toronto, then Houston and now San Francisco, the third stop of a new production of Puccini's La bohème by Canadian born, British nurtured theater director John Caird.

Radvanovsky Sings Recital in Los Angeles

Every once in a while Los Angeles Opera presents an important recital in the three thousand seat Dorothy Chandler Pavilion.

L’elisir d’amore, Royal Opera

This third revival of Laurent Pelly’s production of Donizetti’s L’elisir d’amore needed a bit of a pep up to get moving but once it had been given a shot of ‘medicinal’ tincture things spiced up nicely.

Samling Showcase, Wigmore Hall

Founded in 1996, Samling describes itself as a charity which ‘inspires musical excellence in young people’.

La cenerentola in San Francisco

The good news is that you don’t have to go all the way to Pesaro for great Rossini.

Rameau: Maître à danser — William Christie, Barbican London

Maître à danser: William Christie and Les Arts Florissants at the Barbican, London, presented a defining moment in Rameau performance practice, choreographed with a team of dancers.

Le Nozze di Figaro — or Sex on the Beach?

The most memorable thing (and definitely not in a good way) about this performance of Le Nozze di Figaro at the Serbian National Theatre in Belgrade was the self-serving, infantile, offensive and just plain wrong production by celebrated Serbian theatre director Jagoš Marković.

The Met mounts a well sung but dramatically unconvincing ‘Carmen’

Should looks matter when casting the role of the iconic temptress for HD simulcast?

Maurice Greene’s Jephtha

Maurice Greene (1696-1755) had a highly successful musical career. Organist of St. Paul’s Cathedral, a position to which he was elected when he was just 22 years-old, he later became organist of the Chapel Royal, Professor of Music at the University of Cambridge and, from 1735, Master of the King’s Music.

OPERA TODAY ARCHIVES »

Reviews

Donnacha Dennehy: Grá agus Bás
30 Sep 2011

The music of Donnacha Dennehy

Love and Death is the name of one of Woody Allen’s earlier films, one built around parodies of Tolstoy and other Russian 19th century literary giants.

Donnacha Dennehy: Grá agus Bás

Click here for the list of musicians and production staff

Nonesuch 527063-2 [CD]

$14.99  Click to buy

In Celtic, those words serve as the title of a major piece by the relatively young Irish composer Donnacha Dennehy (b. 1970). And that piece — Grá agus Bás — gives its title to the CD containing it and a song cycle set to the poetry of William Butler Yeats, called That the Night Come. Bob Simpson’s booklet essay for the Nonesuch release attributes to the composer the claim that the title piece is “in no sense a Nationalistic statement.” Indeed, despite the Irish folk music that serves as the inspiration for Grá agus Bás and the poetry of one of Ireland’s greatest authors forming the basis of That the Night Come, the Nonesuch CD doesn’t feel like a 21st century Irish travelogue in contemporary music form. Dennehy manages the tricky and admirable feat of creating music that, while definitely showing its influences, presents a strong and interesting personal profile.

The title piece is a very bold statement. About 25 minutes in length, Grá agus Bás features the vocalism of Iarla Ó Lionáird, a man who specializes in sean-nós, “old tradition” singing. This is full-voiced singing, within a rather limited range, in which wavering of pitch colors the sound, offering tints of yearning and eeriness. Dennehy maintains interest over the work’s span by varying the textures in seamless segments. At root, the accompanying Crash Ensemble performs a sort of kaleidoscope of minimalist gestures, but more of John Adams's style than, say, that of Philip Glass. This is to say, there are acerbic statements at times, and more of a subtly shifting static fabric than the endlessly looping arpeggios of Glass.

Nonesuch provides an English translation of the texts for Grá agus Bás (as well as the Yeats’ poems), but perhaps the best way to experience Grá agus Bás is to let the sound wash over one, imaging the changing weather playing across the sort of bleak but beautiful landscape seen in the packaging art.

Dawn Upshaw takes the vocal line in That the Night Come, but Dennehy’s lines bring touches of the sean-nós tradition, and Upshaw manages them very well. As ever, her enunciation is crystal clear, and though her soprano has noticeably darkened, it is still a very attractive presence. The six selections range from just over 3 minutes to about 9, and the Crash Ensemble’s support sometimes features percussion and electronic effects that show Dennehy’s familiarity with the better representatives of pop-rock music of the last two decades. Still, this is unmistakably art music — not aggressively challenging, but evocative and complex.

Without resorting to excessive claims, this is one recording of contemporary music that leaves a listener interested in hearing more from a composer. Donnacha Dennehy may not have intended a “nationalistic statement,” but Ireland has itself a major voice.

Chris Mullins

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):