25 Nov 2011
Saul, Barbican Hall
Handel’s oratorio Saul was the first dramatic oratorio that he wrote with a strong libretto.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain. And, if the second half of the programme - 20th-century American classics with the odd folky diversion - did feel a little like a prolonged encore (which was followed by three further suavely delivered numbers complete with mischievous banter and musical high-jinks), this did not lessen the musical and theatrical accomplishment or the evident delight of the Wigmore Hall audience, although I confess to feeling a bit of a sugar-rush
In strict architectural terms, the stupendous 2nd century Roman theatre of Aspendos near Antalya in southern Turkey is not an arena or amphitheatre at all, so there are not nearly as many ghosts of gored gladiators or dismembered Christians to disturb the contemporary feng shui as in other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014 by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings
On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!
At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.
By emphasizing the love between Sun Yat-sen and Soong Ching-ling, Ruo showed us the human side of this universally revered modern Chinese leader. Writer Lindsley Miyoshi has quoted the composer as saying that the opera is “about four kinds of love.” It speaks of affection between friends, between parents and children, between lovers, and between patriots and their country.
In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.
Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.
Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.
Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.
Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.
On August 7, 2014, the Santa Fe Opera presented a double bill of Wolfgang Amadeus Mozart’s The Impresario and Igor Stravinsky’s Le Rossignol (The Nightingale). The Impresario deals with the casting of an opera and Le Rossignol tells the well-known fairy tale about the plain gray bird with an exquisite song.
Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.
Handel’s oratorio Saul was the first dramatic oratorio that he wrote with a strong libretto.
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.