Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Roger Quilter: The Complete Quilter Songbook, Vol. 3

Mark Stone and Stephen Barlow present Volume 3 in their series The Complete Roger Quilter Songbook, on Stone Records.

Richard Danielpour – The Passion of Yeshua

A contemporary telling of the Passion story which uses texts from both the Christian and the Jewish traditions to create a very different viewpoint.

Les Talens Lyriques: 18th-century Neapolitan sacred works

In 1770, during an extended tour of France and Italy to observe the ‘present state of music’ in those two countries, the English historian, critic and composer Charles Burney spent a month in Naples - a city which he noted (in The Present State of Music in France and Italy (1771)) ‘has so long been regarded as the centre of harmony, and the fountain from whence genius, taste, and learning, have flowed to every other part of Europe.’

Herbert Howells: Missa Sabrinensis revealed in its true glory

At last, Herbert Howells’s Missa Sabrinensis (1954) with David Hill conducting the Bach Choir, with whom David Willcocks performed the piece at the Royal Festival Hall in 1982. Willcocks commissioned this Mass for the Three Choirs Festival in Worcester in 1954, when Howells himself conducted the premiere.

Natalya Romaniw - Arion: Voyage of a Slavic Soul

Sailing home to Corinth, bearing treasures won in a music competition, the mythic Greek bard, Arion, found his golden prize coveted by pirates and his life in danger.

Le Banquet Céleste: Stradella's San Giovanni Battista

The life of Alessandro Stradella was characterised by turbulence, adventure and amorous escapades worthy of an opera libretto. Indeed, at least seven composers have turned episodes from the 17th-century Italian composer’s colourful life into operatic form, the best known being Flotow whose three-act comic opera based on the Lothario’s misadventures was first staged in Hamburg in 1844.

Purcell’s The Indian Queen from Lille

Among the few compensations opera lovers have had from the COVID crisis is the abundance – alas, plethora – of streamed opera productions we might never have seen or even known of without it.

Ethel Smyth: Songs and Ballads - a new recording from SOMM

In 1877, Ethel Smyth, aged just nineteen, travelled to Leipzig to begin her studies at the German town’s Music Conservatory, having finally worn down the resistance of her father, General J.H. Smyth.

Wagner: Excerpts from Der Ring des Niebelungen, NHK Symphony Orchestra, Paavo Järvi, RCA-Sony

This new recording of excerpts from Wagner’s Der Ring des Niebelungen is quite exceptional - and very unusual for this kind of disc. The words might be missing, but the fact they are proves to have rather the opposite effect. It is one of the most operatic of orchestral Wagner discs I have come across.

Wagner: Die Walküre, Symphonieorchester Des Bayerischen Rundfunks, Simon Rattle, BR Klassik

Simon Rattle has never particularly struck me as a complex conductor. He is not, for example, like Furtwängler, Maderna, Boulez or Sinopoli - all of whom brought a breadth of learning and a knowledge of composition to bear on what they conducted.

Dvořák Requiem, Jakub Hrůša in memoriam Jiří Bělohlávek

Antonín Dvořák Requiem op.89 (1890) with Jakub Hrůša conducting the Prague Philharmonic Orchestra. The Requiem was one of the last concerts Jiří Bělohlávek conducted before his death and he had been planning to record it as part of his outstanding series for Decca.

Philip Venables' Denis & Katya: teenage suicide and audience complicity

As an opera composer, Philip Venables writes works quite unlike those of many of his contemporaries. They may not even be operas at all, at least in the conventional sense - and Denis & Katya, the most recent of his two operas, moves even further away from this standard. But what Denis & Katya and his earlier work, 4.48 Psychosis, have in common is that they are both small, compact forces which spiral into extraordinarily powerful and explosive events.

A new, blank-canvas Figaro at English National Opera

Making his main stage debut at ENO with this new production of The Marriage of Figaro, theatre director Joe Hill-Gibbins professes to have found it difficult to ‘develop a conceptual framework for the production to inhabit’.

Massenet’s Chérubin charms at Royal Academy Opera

“Non so più cosa son, cosa faccio … Now I’m fire, now I’m ice, any woman makes me change colour, any woman makes me quiver.”

Bluebeard’s Castle, Munich

Last year the world’s opera companies presented only nine staged runs of Béla Bartòk’s Bluebeard’s Castle.

The Queen of Spades at Lyric Opera of Chicago

If obsession is key to understanding the dramatic and musical fabric of Tchaikovsky’s opera The Queen of Spades, the current production at Lyric Opera of Chicago succeeds admirably in portraying such aspects of the human psyche.

WNO revival of Carmen in Cardiff

Unveiled by Welsh National Opera last autumn, this Carmen is now in its first revival. Original director Jo Davies has abandoned picture postcard Spain and sun-drenched vistas for images of grey, urban squalor somewhere in modern-day Latin America.

Lise Davidsen 'rescues' Tobias Kratzer's Fidelio at the Royal Opera House

Making Fidelio - Beethoven’s paean to liberty, constancy and fidelity - an emblem of the republican spirit of the French Revolution is unproblematic, despite the opera's censor-driven ‘Spanish’ setting.

A sunny, insouciant Così from English Touring Opera

Beach balls and parasols. Strolls along the strand. Cocktails on the terrace. Laura Attridge’s new production of Così fan tutte which opened English Touring Opera’s 2020 spring tour at the Hackney Empire, is a sunny, insouciant and often downright silly affair.

A wonderful role debut for Natalya Romaniw in ENO's revival of Minghella's Madama Butterfly

The visual beauty of Anthony Minghella’s 2005 production of Madama Butterfly, now returning to the Coliseum stage for its seventh revival, still takes one’s breath away.

OPERA TODAY ARCHIVES »

Reviews

Wilfred Owen
12 Oct 2011

Britten’s War Requiem, London

‘Requiescant in pace. Amen.’

Benjamin Britten: War Requiem

Sabina Cvilak, soprano; Ian Bostridge, tenor; Simon Keenlyside, bass. Conductor: Gianandrea Noseda. London Symphony Orchestra. London Symphony Chorus. Eltham College Choir Trebles. Barbican Hall, London, 9th October 2011.

Above: Wilfred Owen

 

The final words of Benjamin Britten’s War Requiem are words of peace and hope, but recent and on-going conflicts in Rwanda, Liberia, Iraq, Afghanistan and Libya suggest that although almost fifty years have passed since the work was first performed, to celebrate the rebuilding and re-consecration in May 1962 of the bomb-blasted Coventry Cathedral, the sentiments of Wilfred Owen, voiced in the epigraph, have lost none of their impact or relevance: “My subject is War, and the pity of War. The Poetry is in the pity. All a poet can do today is warn.”

Much of the power of the work lies in its innate contrasts. Owen’s dark, distressing war poems form a counterpoint to the consolations of the requiem mass, and the interweaving of secular and sacred, vernacular and Vulgate, is often challenging, surprising and deeply ironic. A resonant, full orchestral clamour contrasts with delicate, finely fashioned chamber sonorities; soloists and chorus intertwine and counterpoise. Brightness interrupts the darkness, and is then once more overwhelmed by horror and terror.

Conductor Gianandrea Noseda, deputising for the indisposed Sir Colin Davis, was ever alert to such contrasts. Thus, in the opening ‘Requiem aeternam’, the lustre of high trebles of Eltham College Choir – placed distantly, as Britten requested, in the gallery – thrillingly broke through the solemn, funereal tolling of the orchestral accompaniment; similarly, the gentle phrasing of the women’s voices in the choral ‘Recordare’ was abruptly and dramatically superseded by the energetic, bellicose assertions of the men’s ‘Confutatis maledictis’. Elsewhere, the very quietness was itself imbued with ominous, discomforting resonances: the whispered conclusion to the fugal ‘Quam olim Abrahae’, following the terror of the lines, ‘the old man would not so, but slew his son, – And half the seed of Europe one by one’, was spine-chilling. Throughout the London Symphony Chorus were on fine form, enunciating the text clearly and attentive to all the significance musical details.

A cast of impressive soloists had been assembled. Ian Bostridge may have more than fifty performances of the War Requiem behind him but he is clearly not about to let any element of routine enter into his interpretation. In a recent interview he asked, “Which war, whose Requiem?” and his intense engagement with this question underpinned a remarkably committed performance, one which judiciously conveyed every nuance and inflection of the text. Never afraid to use the grain and catches of the voice to highlight the bitterness and ugliness expressed by Owen, Bostridge is totally attuned to the musical and poetic expression, uniting the power of both in his delivery. He produced a disturbing vehemence in ‘What passing bells for these who die as cattle?’ but created an exquisite, poised stillness in the ‘Agnus Dei’.

Baritone Simon Keenlyside was less overtly dramatic but he provided an effective base or grounding for the more extrovert tenor. Singing with sincerity and considerable beauty of tone, Keenlyside communicated authoritatively, especially in ‘Be slowly lifted up, thou long back arm’. In their duet passages, as the men sing with ironic cheerfulness of death, or chillingly relate the story of Abraham and Isaac, both singers displayed an admirable feeling for the text. Every word pulsed with meaning and import, especially in the final extract from Owen’s ‘Strange Meeting’.

The solo soprano is separated from the two male soloists, musically and textually, and here Slovenian Sabina Cvilak was spatially distanced too, placed in the choir. Singing the Latin text, ‘Liber scriptus’, which sets out day of judgement, Cvilak was perhaps a little too placid, not making full use of her undoubted rich tone, although the declamatory phrases of the ‘Sanctus’ were well-shaped and she displayed a pure tone and a well-supported pianissimo.

The players of the London Symphony Orchestra were on tremendous form, guided skilfully by Noseda who illuminated all the details of the score. Noseda’s control of the musico-dramatic form was exemplary and his galvanising of his forces in the big moments superb: thus the chilling distant fanfares which herald the outbreak of violent combat at the start of the ‘Dies Irae’ built to an explosive force. The full fury of the orchestral forces were sparingly employed and the turbulent outbursts perfectly judged, as in the frighteningly precipitous ‘Libera me’ in which the stifled percussion eventually detonated in a terrifying climax with the entry of the organ. In contrast, Noseda paced the more grave moments with controlled deliberation. The chamber ensemble which virtuosically accompanies the songs sensitively supported the intimate drama and dialogue of Owen’s verses.

In a recent essay in the Guardian newspaper, Bostridge wrote that, “The War Requiem is a masterpiece of the deepest emotional and moral depth. It is also an enormous contraption of musical ingenuity”. This was a purposeful and impressively crafted performance, one which powerfully expounded the human truths and elemental emotions exposed by Britten and by Owen; time does not lessen their importance or impact.

Claire Seymour

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):