Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

La voix humaine: Opera Holland Park at the Royal Albert Hall

Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.

London Handel Festival: Handel's Faramondo at the RCM

Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.

Brahms A German Requiem, Fabio Luisi, Barbican London

Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.

Káťa Kabanová in its Seattle début

The atmosphere was a bit electric on February 25 for the opening night of Leoš Janàček’s 1921 domestic tragedy, and not entirely in a good way.

Festival Mémoires in Lyon

Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).

Christoph Prégardien and Julius Drake at the Wigmore Hall

The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.

La Tragédie de Carmen at San Diego

On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).

Kasper Holten's farewell production at the ROH: Die Meistersinger von Nürnberg

For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.

AZ Musicfest Presents Mendelssohn's Italian Symphony and Leoncavallo's Pagliacci

The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.

Premiere: Riders of the Purple Sage

On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.

English Touring Opera Spring 2017: a disappointing Tosca

During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.

Matthias Goerne : Mahler Eisler Wigmore Hall

A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.

A Merry Falstaff in San Diego

On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.

New Production of Mozart’s The Magic Flute at Lyric Opera, Chicago

In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.

A Salome to Remember

Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.

L’Elisir d’Amore Goes On Despite Storm

On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.

Boris Godunov in Marseille

There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.

Bartoli a dream Cenerentola in Amsterdam

With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.

Winterreise : a parallel journey

Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.

Anna Bolena in Lisbon

Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.

OPERA TODAY ARCHIVES »

Performances

George Frideric Handel by Francis Kyte (1742) [Courtesy of National Portrait Gallery]
25 Nov 2011

Saul, Barbican Hall

Handel’s oratorio Saul was the first dramatic oratorio that he wrote with a strong libretto.

G. F. Handel: Saul

David: Sarah Connolly; Saul: Christopher Purves; Jonathan: Robert Murray; Merab: Elizabeth Atherton; Michal: Joelle Harvey; Witch of Endor: Jeremy Budd; High Priest: Mark Dobell; Ghost of Samuel: Stuart Young; Doeg: Ben Davies; Abner: Eamonn Dougan; Amalekite: Tom Raskin. The Sixteen Choir and Orchestra. Conductor: Harry Christophers. Barbican Hall, London, Tuesday, 22nd November 2011.

Above: George Frideric Handel by Francis Kyte (1742) [Courtesy of National Portrait Gallery]

 

Charles Jennens compilation, based on biblical sources, created a powerful structure which enabled Handel to create a work which became the first of his English music dramas. The work was performed at the Barbican on Tuesday 21st November by The Sixteen under conductor Harry Christophers, in a concert performance which brought out the essential drama of the piece.

The title role is a remarkable portrait of a conflicted personality, and Handel emphasised this by reducing the characters arias and concentrating on recitative (both secco and accompanied). This means that it can be tricky role to bring off, fatally easy to under play in a concert performance. Peter Purves brought both Handelian bravura and drama to the role, no only acting but reacting, his performance continuing when others were performing, so that Purves showed Saul’s furious reaction to the Israelites praise for David. Purves is perhaps not the tidiest Handelian singer and he did have a tendency to distort the vocal line for expressive purposes. But this was a performance where music and drama went grippingly hand in hand.

The role of David was written for a woman to sing, but in recent years there has been a tendency for it to be sung by counter-tenors. Sarah Connolly demonstrated that in the right hands, the richness, depth and flexibility of a female mezzo-soprano voice can work wonders in the role. Though known for her Handel roles, Connolly’s voice has developed into quite a big instrument. Here she gave a finely moulded, intelligent performance of great beauty.

Robert Murray made an affable Jonathan, with a nicely turned phrase but not quite the purity of line that I would have liked. More importantly, I didn’t feel that there was much drama in the relationship between Murray’s Jonathan and Connolly’s David, though Murray’s individual contributions were finely done.

The drama isn’t perfect, Jennens libretto spends a little too much time on Saul’s daughters Merab and Michal. Elizabeth Atherton as Merab didn’t display quite such a firm line as I would have liked; but the role is a gift for an actress and Atherton displayed a nice line in temperament as the haughty Merab. Joelle Harvey was sweet as Michal, but the role doesn’t really call for much more. Harvey and Connolly duetted delightfully, but even they couldn’t quite convince that two duets in Act 2 is one duet too many.

But Act 2 closed in dramatic fashion with Purves’s powerful delivery of Saul’s accompagnato and a strong closing chorus, ‘O fatal consequence’. The drama continued to be vividly played in the final act, with Christophers encouraging the orchestra to bring out the rawness of Handel’s wonderful scene with the Witch of Endor. All closing with a strongly felt final Elegy.

The smaller roles (of which there are quite a few) were all taken by members of the Sixteen choir, with Jeremy Budd as an edgy, mysterious Witch of Endor, Mark Dobell as the High Priest, Stuart Young as an eerie Ghost of Samuel, Ben Davies as Does, Eamonn Dougan as a strongly characterised Abner and Tom Raskin as the unfortunate Amelkite killed by David at the end. All were strong and more than a credit to the group. Dobell did not always manage to make the rather prosy part of the High Priest interesting, but he was certainly had a good go.

The work was not strictly staged, and everyone sang from scores, but some thought had been put into elements of staging, entrances and exits so that the results contributed immensely to the feeling of drama. Though we had the libretto, diction was uniformly excellent and you hardly needed the words.

The 18 person choir (male altos, female sopranos) brought conviction and enthusiasm to their usually polished delivery. The chorus is called on to sometimes embody the Israelite people and sometimes simply comment; in whichever role the Sixteen was dramatically involved.

Handel’s orchestra is quite a large one, he uses trumpets, trombones and kettledrums. The work has a number of symphonies, describing off-stage action such as battles and funeral corteges so that Handel gives the orchestra a number of solo moments, with some lovely playing from harpist Frances Kelly; Handel also used a Carillon/Glockenspiel to great effect. The Sixteen Orchestra was clearly enthused by the work and by Christophers direction as they played with infection conviction. Christophers went for a rather rich continuo sound, using harp, theorbo, harpsichord and organ as part of the continuo group, which is understandable given the breadth of Handel’s orchestration in the piece. It was performed in Anthony Hicks’s edition.

Christophers ran each act without breaks, so that we had chance to feel how the drama flowed. He encouraged both cast and orchestra to produce vividly dramatic performances and the results were immensely engaging. There is a recording coming out next year and I look forward to it.

Robert Hugill

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):