12 Oct 2011
Mahler 8, Royal Festival Hall
Following Lorin Maazel’s lifeless first movement from Mahler’s Tenth Symphony
On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.
Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to explore the possibilities of unconventional spaces and unconventional programs that the company has made its hallmark. The results were musically and theatrically thought-provoking, and left me wanting more.
Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.
It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.
Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.
Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.
Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.
The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.
On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.
There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.
It has been a cold and gray winter in the south of France (where I live) made splendid by some really good opera, followed just now by splendid sunshine at Trafalgar Square and two exquisite productions at English National Opera.
At long last, Rise and Fall of the City of Mahagonny has come to the Royal Opera House. Kurt Weill’s teacher, Busoni, remains scandalously ignored, but a season which includes house firsts both of this opera and Szymanowsi’s King Roger, cannot be all bad.
RILM Abstracts of Music Literature is an international database for musicological and ethnomusicological research, providing abstracts and indexing for users all over the world. As such, RILM’s style guide (How to Write About Music: The RILM Manual of Style) differs fairly significantly from those of more generalized style guides such as MLA or APA.
Unsuk Chin’s Alice in Wonderland returned to the Barbican, London, shape-shifted like one of Alice’s adventures. The BBC Symphony Orchestra was assembled en masse, almost teetering off stage, creating a sense of tension. “Eat me, Drink me”. Was Lewis Carroll on hallucinogens or just good at channeling the crazy world of the subconscious?
Dominic Cooke’s 2005 staging of The Magic Flute and Richard Jones’s 1998 production of Hansel and Gretel have been brought together for Welsh National Opera’s spring tour under the unifying moniker, Spellbound.
Carolyn Sampson has long avoided the harsh glare of stardom but become a favourite singer for “those in the know” — and if you are not one of those it is about time you were.
Gaetano Donizetti and Malcolm Arnold might seem odd operatic bedfellows, but this double bill by the Guildhall School of Music and Drama offered a pair of works characterised by ‘madness, misunderstandings and mistaken identity’ which proved witty, sparkling and imaginatively realised.
Saturday, February 28, 2015, was the first night for Los Angeles Opera’s revival of its 2009 presentation of The Barber of Seville, a production by Emilio Sagi, which comes originally from Teatro Real in Madrid in cooperation with Lisbon’s Teatro San Carlos. Sagi and onsite director, Trevor Ross, made comedy the focus of their production and provided myriad sight gags which kept the audience laughing.
Commenting on her recent, highly acclaimed CD release of late-nineteenth-century song, Chansons Perpétuelles (Naive: V5355), Canadian contralto Marie-Nicole Lemieux remarked ‘it’s that intimate side that interests me I wanted to emphasise the genuinely embodied, physical side of the sensuality [in Fauré]’.
An evening of strange-bedfellow one-acts in high-concept stagings, mindbogglingly delightful.
Following Lorin Maazel’s lifeless first movement from Mahler’s Tenth Symphony
(reviewed here, with Das Lied von der Erde), I could not believe that the Eighth would prove worse. It did — considerably so.
The ‘Veni, creator spiritus’ opened in strong, muscular fashion, yet ominously, not only was it metronomic but one could hear every beat, just as in the previous concert. Then there came an extraordinary slowing down, or rather grinding to a halt and staying there, for the entry of the soloists, who, cushioned by a Philharmonia Orchestra reduced for some time to the level of mere accompaniment, sounded more like a Verdi ensemble than voices in the heavenly firmament. The solo voices, moreover, were weirdly positioned: not just in the sense of being behind the orchestra (though raised), but also placed antiphonally at the uppermost two corners of the stage, as if the conductor or management were worried where co-educational singing might lead. The soloists coped variably: Stefan Vinke’s voice stood out, sometimes for better, sometimes for worse, amongst the men, whilst Sarah Connolly proved strongest from the opposing camp. Sally Matthews often sounded strained — though who would not at such a tempo? — whilst Ailish Tynan occasionally contributed an unpleasant edge to proceedings. Even when the pace sped up dramatically, only rapidly and arbitrarily to slow a little later, there was no sense of what any of the words, let alone the music, might mean. It all sounded very hard work, certainly not ecstatic, or even joyful. Whilst the Philharmonia played well in purely technical terms, the orchestra had forced upon it, especially during the development section, an inappropriately fierce attack, a fair aural reflection of Maazel’s stabbing beat. Even string pizzicato sounded as though it might slice one’s hand off. A painful horn fluff in the lead up to the double fugue can be readily forgiven, but the vulgarity with which Maazel directed the brass thereafter cannot: even Solti would surely have blanched at such a loud, brash, artificially ‘exciting’, indeed deafening, noise. And so it went on and on, recapitulation without end.
The Introduction to the second part took us back to the painful audible micromanagement of the Tenth’s ‘Adagio’: every subdivision of every beat bludgeoned into the collective consciousness, every note a thing-in-itself, apparently unconnected to any other, everything taken very, very slowly. There was no sense of line, let alone of landscape — and that in this most extraordinary of aural canvases. It felt like an unpleasant visit to the dentist rather than a view of the forest, let alone a voyage into a world of metaphysics. Though the strings sounded resplendent here, one could only regret the sad waste of their talents. Later on, it became increasingly apparent that, the skill of the players notwithstanding, both orchestra and hall were simply too small. In a decent performance, that might have mattered more.
Back, then, to the slow progress of the second part. The chorus — and there was little or no fault to find in any of the choral singing, always impressive in tone and heft — entered to the most rigid of conducting, as if at rehearsal speed. When Pater Ecstaticus responded, at something akin to a reasonable tempo, that inevitably sounded disconnected from what had gone before. Stephen Gadd, a late replacement for Brindley Sherratt, sounded somewhat threadbare as Pater Profundus: whatever his vocal type (he was listed as a baritone), ‘profundus’ was not the first description to come to mind. Tempi continued to veer arbitrarily, though more often than not they continued to be eked out, sub-division of beat to next sub-division, a test of endurance that did not quite correspond with my understanding of the work. The Mater Gloriosa seemed less to ‘float’ into view than to crawl. He-si-tant-ly.
Again, the soloists proved a mixed bunch. Vinke’s intonation wavered, which is perhaps putting it mildly. (His voice seems to have deteriorated markedly since the first occasions I heard him in Leipzig, where he truly seemed a new Heldentenor hope.) Connolly again proved the most interesting and vocally refulgent of the women, assisted by baleful trombones, which, in a rare moment of musical insight, seemed to transport us back to the Second Symphony. Anne-Marie Owens, however, was tremulous, and blurry of diction. Ailish Tynan proved bizarrely lacking in purity of tone: an impetuous Gretchen is as bad an idea as it sounds. The first syllable of ‘Hülle’ (as in ‘der alten Hülle sich entrafft’) varied between at least three, probably more, different pitches. As for her closing attempt to present Gretchen as diva, one can only respond wearily that that is not quite what Mahler, let alone Goethe, had in mind. Sarah Tynan, however, delivered her lines with palpable, winning sincerity from one of the boxes.
Immediately after those words from the Mater Gloriosa’s, there came, sadly, the only moment with true power to disconcert, to trouble. An unfortunate double bass player fell from her chair and apparently knocked over her instrument, having to be helped from the stage by other members of her section. It was a highly unnerving accident, but the show, alas, went on. Whatever redemption might be, Maazel’s performance lay beyond it. The conclusion to the ‘Chorus Mysticus’, it will not surprise anyone to learn, was dragged out mercilessly, quite negating occasional signs of life at its opening.
I am not someone who usually notes, or indeed notices, durations of performances, but there was something of a discrepancy between the programme’s anticipated timing (eighty minutes) and a 7.30 p.m. concert, which, whilst admittedly starting six or seven minutes late, came to an end slightly after 9.15. The first movement alone must have lasted half an hour. Slow tempi can often be revelatory: consider Klemperer. And then try not to consider Maazel. Nevertheless, the moment Mahler was finally put out of his misery, some members of the audience began to holler loudly and rose to their feet. It was time to catch the bus home.