25 Nov 2011
Saul, Barbican Hall
Handel’s oratorio Saul was the first dramatic oratorio that he wrote with a strong libretto.
Manitoba Opera’s first production in nine years of Giacomo Puccini’s La Bohème still stirs the heart and inspires tears with its tragic tale of bohemian artists living — and loving — in 1840s Paris.
On April 12, 2014, Arizona Opera opened its series of performances of Donizetti's Don Pasquale in Tucson. Chuck Hudson’s production of this opera combined Commedia dell’arte with Hollywood movie history.
This quotation from Cervantes was displayed before the opening of the opera’s final scene:
“The greatest madness a man can commit in this life is to let himself die, just like that, without anybody killing him or any other hands ending his life except those of melancholy.”
Gounod's Faust makes a much welcomed return to the Royal Opera House. With each new cast, the dynamic changes as the balance between singers shifts and brings out new insights. In that sense, every revival is an opportunity to revisit from new perspectives. This time Bryn Terfel sang Méphistophélès, with Joseph Calleja as Faust - stars whose allure certainly helped fill the hall to capacity. And the audience enjoyed a very good show.
The company ends its 2013-14 season on a high note with a staged performance of Gershwin’s theatrical masterpiece
Lyric Opera of Chicago’s new production of Antonin Dvorak’s Rusalka is visually impressive and fulfills all possible expectations musically with unquestioned excitement.
The reliable Badisches Staatstheater has assembled plenty of talent for its new Un Ballo in Maschera.
This varied, demanding programme indisputably marked soprano Louise Alder as a name to watch.
Can this be the best British opera in years? Luke Bedford’s Through His Teeth at the Royal Opera House’s Linbury Theatre is exceptional. Drop everything and go.
As one descends the steel steps into the cavernous bunker of Ambika P3, one seems about to enter rather insalubrious realms — just right one might imagine, then, for an opera which delves into the depths of the seedier side of celebrity life.
Kaiserslautern’s Pfalztheater has produced a tantalizing realization of Gluck’s Iphigénie en Aulide, characterized by intriguing staging, appealing designs, and best of all, superlative musical standards.
Never thought I’d say it but......
Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.
On Wednesday, March 19, 2014, General Director Ian Campbell of San Diego Opera announced that the company would go out of business at the end of this season. The next day the company performed their long-planned Verdi Requiem with a stellar cast including soprano Krassimira Stoyanova, mezzo-soprano Stephanie Blythe, tenor Piotr Beczala, and bass Ferruccio Furlanetto.
Visual elements in Richard Eyre’s striking production offset Massenet’s melodic shortcomings
New productions of repertoire staples such as Gioachino Rossini’s Il Barbiere di Siviglia bear much anticipation for both performers and staging.
On March 15, 2014, Los Angeles Opera presented Elkhanah Pulitzer’s production of the opera, which she set in 1885 when women were beginning to be recognized as persons separate from their fathers, brothers and husbands. At that time many European countries were beginning to allow women to own property, obtain higher education, and choose their husbands.
On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.
From the moment she walked, resplendent in red, onto the Wigmore Hall platform, Anne Schwanewilms radiated a captivating presence — one that kept the audience enthralled throughout this magnificent programme of Romantic song.
Magnificent! Following the first night of this new production of Die Frau ohne Schatten, I quipped that I could forgive an opera house anything for musical performance at this level, whether orchestral, vocal, or, in this case, both.
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.