Recently in Performances
Die Meistersinger at the theatre in which it was premiered, on
Wagner’s birthday: an inviting prospect by any standards, still more so
given the director, conductor, and cast, still more so given the opportunity to
see three different productions within little more than a couple of
Opera houses’ neglect of Janáček remains one of the most baffling of the many baffling aspects of the ‘repertoire’. At least three of the composer’s operas would be perfect introductions to the art form: Jenůfa, Katya Kabanova, or The Cunning Little Vixen would surely hook most for life. From the House of the Dead might do likewise for someone of a rather different disposition, sceptical of opera’s claims and conventions.
Director Annabel Arden believes that Rossini’s Il barbiere di Siviglia is ‘all about playfulness, theatricality, light and movement’. It’s certainly ‘about’ those things and they are, as Arden suggests, ‘based in the music’.
George Enescu’s Oedipe was premiered in Paris 1936 but it has taken 80 years for the opera to reach the stage of Covent Garden. This production by Àlex Ollé (a member of the Catalan theatrical group, La Fura Dels Baus) and Valentina Carrasco, which arrives in London via La Monnaie where it was presented in 2011, was eagerly awaited and did not disappoint.
Lyric Opera of Chicago staged Charles Gounod’s Roméo et Juliette as the last opera in its current subscription season.
‘The plot is perhaps the least moral in all opera; wrong triumphs in the name of love and we are not expected to mind.’
Anthony Minghella’s production of Madame Butterfly for ENO is
wearing well. First seen in 2005, it is now being aired for the sixth time and is still, as I observed in 2013, ‘a breath-taking visual banquet’.
This concert version of La straniera felt like a compulsory musicology field trip, but it had enough vocal flashes to lobby for more frequent performances of this midway Bellini.
As poetry is the harmony of words, so music is that of notes; and as poetry is a rise above prose and oratory, so is music the exaltation of poetry.
From experiments with musique concrète in the 1940s, to the
Minimalists’ explorations into tape-loop effects in the 1960s, via the
appearance of hip-hop in the 1970s and its subsequent influence on electronic
dance music in the 1980s, to digital production methods today,
‘sampling’ techniques have been employed by musicians working in
genres as diverse as jazz fusion, psychedelic rock and classical music.
On May 7, 2016, San Diego Opera presented the West Coast premiere of Great Scott, an opera by Terrence McNally and Jake Heggie. McNally’s original libretto pokes fun at everything from football to bel canto period opera. It includes snippets of nineteenth century tunes as well as Heggie's own bel canto writing.
A foiled abduction, a castle-threatening inferno, romantic infatuation, guilt-laden near-suicide, gun-shots and knife-blows: Andrea Leone Tottola’s libretto for Vincenzo Bellini’s first opera, Adelson e Salvini, certainly does not lack dramatic incident.
Opera as an art form has never shied away from the grittier shadows of life. Nor has Manitoba Opera, with its recent past productions dealing with torture, incest, murder and desperate political prisoners still so tragically relevant today.
Published in 1855 as an entertainment for his two daughters, William Makepeace Thackeray’s The Rose and the Ring is a burlesque fairy-tale whose plot — to the author’s wilful delight, perhaps — defies summation and elucidation.
What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.
I suspect that many of those at the Wigmore Hall for The King’s
Consort’s performance of the La Senna festeggiante (The
Rejoicing Seine) were lured by the cachet of ‘Antonio Vivaldi’ and
further enticed by the notion of a lover’s serenade at which the generic
term ‘serenata’ seems to hint.
Having enjoyed superb singing by a young cast of soloists in Classical
Opera’s UK premiere of Jommelli’s Il Vogoleso the
previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final
at the Wigmore Hall confirmed the strength and depth of talent possessed by the
young singers studying in and emerging from our academies and conservatoires.
On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.
Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.
London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.
23 Dec 2011
Die Meistersinger von Nürnberg, Royal Opera House
Perhaps it’s no accident that Graham Vick’s Die Meistersinger von Nürnberg returns to the Royal Opera House for the Christmas season. Red, green, gold, sumptuous colours that warm a long, grey evening.
Die Meistersinger von Nürnberg is a comedy and here’s it’s
presented as the ultimate up market Xmas show. It’s extremely enjoyable, and
an ideal introduction to the opera experience. Richard Wagner, though, gets
Sir John Tomlinson is a definite reason for catching this revival. The days
when he could sing Hans Sachs are past, but he creates an unusually vivid Veit
Pogner. Tomlinson plays Pogner powerfully, as if he was a former Sachs, whose
reasons for committing his daughter to this bizarre marriage make sense. He’s
dedicating his daughter to art, not too shabby politics. Luckily for him, and
for Eva, Walter von Stolzing arrives in the nick of time. Indeed, Beckmesser
very nearly persuades the Meistersingers to drive Walter out of town. Things
could so easily have turned out quite differently. Die Meistersinger von
Nürnberg may be comic, but it evolves against a background of tension. At
any moment anarchy could breakout. Unless the Meistersingers adapt, they might
Wagner builds tension into the music. The Meistersingers sing at cross
purposes, and in the riot scene, the turbulence of the chorus evokes the
violence which comes with all revolution. That’s why the Night Watchman sings
“bewahrt euch vor Gespenstern und Spuk, dass kein böser Geist eu’r Seel’
beruck’!” The music for the apprentice boys is energetic, a warning for
those who remember Wagner’s protosocialism. This time, however, no dangerous
ideas. We’re treated to a good natured Meistersinger, where the
apprentices dance with little vigour, and the blows Sachs throws at David have
no menace. Antonio Pappano received the longest applause of all on the first
night,. Most audiences can relate better to joyful Romaticism in music better
than to Wagner-on-edge, so it’s understandable. He clearly enjoys the
life-affirming elements in this opera, which come over well. Christmas is not
the right time for radical ideas, and this is not a production that would
Graham Vicks’s riot scene is classic because it’s so well imagined. The
townsfolk pop out of windows and hang precariously upside down over the stage.
One man looks like he’s about to lose his footing (this happened in earlier
productions, so it was planned) In their nightshirts the townsfolk look like
escapees from an asylum, a good idea but not developed. The Festweise
scene is masterfully blocked, so each guild is clearly defined. I liked
the acrobats in the background, too. But these scenes aren’t for
entertainment but emphasize the traumas in Nürnberg’s past.
Because John Tomlinson so dominates the first Act, Wolfgang Koch’s Hans
Sach might be overlooked, but Koch understands the role. Sachs is an observer,
who stands apart from the crowd, and who thinks before he acts. Koch’s Sachs
is sung with sensitivity, and would be very effective in a more perceptive
production which focuses on Sachs and not the scenery. Koch looks and sounds
younger than the other Meistersingers and is rather more lyrical than Simon
O’Neill’s Walther von Stolzing who is more hoch dramatisch than
true Heldentenor. This was the best performance I’ve ever heard from
O’Neill, and he was good, but it’s a part better suited to a more luminous
timbre. O’Neill was, however, a good match for Emma Bell’s Eva, joyfully
created though perhaps more Italianate than Wagnerian. In a cheerful,
non-idiomatic production like this, it didn’t matter, and they conveyed the
story. Popular favourite, Toby Spence, sang a very good David, but he’s more
upper class than roustabout.
(L-R) Peter Coleman-Wright as Beckmesser, Wolfgang Koch as Hans Sachs, Heather Shipp as Magdalene, Simon O’Neill as Walther and Emma Bell as Eva
It was good to see many teenagers in the audience, another good reason for
having a show like this in holiday time. Last week, David Chandler took his
daughter to Kurt Weill’s Magical Night at the Linbury, (reviewed
here) and she was ecstatic. We can give kids toys anytime, but the gift of
a magical experience is beyond compare. And the same goes for adults, new to
opera. This Meistersinger may not tell us much about the opera or
about Wagner, but it’s an excellent night out.