27 Feb 2012
John Adams — Death of Klinghoffer, London
John Adams’s The Death of Klinghoffer is on at the English National Opera, London.
Opera Philadelphia deserves congratulations on yet another coup. The company co-commissioned Cold Mountain, an opera by Jennifer Higdon based on Gene Scheer’s adaptation of Charles Frazier’s celebrated Civil War epic.
For their first of two recitals at the Wigmore Hall, Christian Gerhaher and Gerold Huber devised an interesting programme - popular Schubert mixed with songs by Wolfgang Rihm and by Huber himself.
There are not many opera productions that you would cross oceans to see. Graham Vick’s Götterdämmerung in Sicily however compelled such a voyage.
Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.
Robert Ashley’s opera-novel Quicksand makes for a novel experience
One of the leading Russian composers of his generation, Alexander Raskatov’s reputation in the UK and western Europe derives from several, recent large-scale compositions, such as his reconstruction of Alfred Schnittke’s Ninth Symphony from a barely legible manuscript (the work was first performed in 2007 in the Dresden Frauenkirche by the Dresden Philharmonic under Dennis Russell Davies), and his 2010 opera A Dog’s Heart, based on Mikhail Bulgakov’s satire (which was directed by Simon McBurney at English National Opera in 2010, following the opera’s premiere at Netherlands Opera earlier that year).
I’m not sure that St John’s Smith Square was the most appropriate venue for Opera Danube’s latest production: Jacques Offenbach’s satirical frolic, Orpheus in the Underworld.
This nasty little opera evening in Lyon lived up to the opera’s initial reputation as pure pornophony. This is the erotic Shostakovich of the D minor cello sonata, it is the sarcastic and complicated Shostakovich of The Nose . . .
During December 2015 and presently in January Lyric Opera of Chicago has featured the world premiere of the opera Bel Canto, with music by Jimmy López and libretto by Nilo Cruz, based on the novel by Ann Patchett.
Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.
The title role is a deciding factor in Madama Butterfly. Despite a last-minute conductor cancellation, last Saturday’s concert performance at the Concertgebouw was a resounding success, thanks to Lianna Haroutounian’s opulent, heart-stealing Cio-Cio-San.
With this performance of vocal and instrumental works composed by the 10-year-old Mozart and his contemporaries during 1766, Classical Opera entered the second year of their 27-year project, MOZART 250, which is designed to ‘contextualise the development and influences of [sic] the composer’s artistic personality’ and, more audaciously, to ‘follow the path that subsequently led to some of the greatest cornerstones of our civilisation’.
Luca Pisaroni and Wolfram Rieger were due to give the latest installment in the Wigmore Hall's complete Schubert songs series, but both had to cancel at short notice. Fortunately, the Wigmore Hall rises to such contingencies, and gave us Benjamin Appl and Jonathan Ware. Since there's a huge buzz about Appl, this was an opportunity to hear more of what he can do.
The phrase ‘Sunday afternoon concert’ may suggest light, post-prandial entertainment, but soprano Gemma Lois Summerfield and her accompanist, Simon Lepper, swept away any such conceptions in this demanding programme at St. John’s Smith Square.
When, o when, will someone put Peter Sellars and his compendium of clichés out of our misery?
Having recently followed some by-ways through the music of Purcell, Monteverdi and Cavalli, L’Arpeggiata turned the spotlight on traditional folk music in this characteristically vibrant and high-spirited performance at the Wigmore Hall.
Edward Gardner brought all his experience as a choral and opera conductor to bear in this stirring performance of Michael Tippett’s A Child of Our Time at the Barbican Hall, with a fine cast of soloists, the BBC Symphony Orchestra and BBC Symphony Chorus.
‘Apt for voices or viols’: eager to maximise sales among the domestic market in Elizabethan England, publishers emphasised that the music contained in collections such as Thomas Morley’s First Book of Madrigals to Four Voices of 1594 was suitable for performance by any combination of singers and players.
It was a single title but a double bill and there was far more happening than Gordon Getty and Claude Debussy. Starting with Edgar Allen Poe.
For its latest production of the current season Lyric Opera of Chicago is presenting Franz Lehár’s The Merry Widow (Die lustige Witwe) featuring Renée Fleming /Nicole Cabell as the widow Hanna Glawari and Thomas Hampson as Count Danilo Danilovich.
John Adams’s The Death of Klinghoffer is on at the English National Opera, London.
Press reports suggested mass protests against John Adams’s The Death of Klinghoffer at the ENO. But there was just one polite demonstrator, who’d left by the end of the evening. Perhaps he saw the show. The subject is emotive, and important, but Adams’s treatment is not incendiary. It’s the nature of his music. Repetitive, ruminative cadences, which suggest contemplation rather than imposed narrative. Perhaps it’s the very anti-drama in this music that provokes response.
Sidney Outlaw as Rambo
Adams's abstracted cadences evoke blurred boundaries: endless waves on the sea, the whirr of a ship’s engine, the slow ticking away of time. Unfortunately, this music also evokes tedium. Facts about the hijack of the Achille Lauro are projected onto the stage to keep us alert, but the music is saying something else altogether. Furthermore, Adams sets text counter-intuitively, so syntax is distorted in favour of unsettling stresses in places that would not occur in speech. Because our brains don’t process language in this way, meaning is sacrificed. It’s not good when you have to concentrate on sub-titles to figure out what’s being sung. Alice Goodman’s libretto has been criticized for being opaque, but it closely reflects Adams’s musical technique. Images are blurred and shift shape. In the opening Chorus, it’s deliberately unclear who the protagonist is. Is she a young woman in love or an old woman awaiting death? Or both? It’s immaterial. She’s a composite of millions who have been exiled throughout history. When music and text are both this oblique, the thrust of the drama is lost. Perhaps Adams wants us to savour each moment in detail, as we savour life itself, knowing it won’t last, but the cumulative effect of the First Act is soporific.
Things pick up in the Second Act, when Adams frees himself from earnest pseudo-documentary. Up to this point the action has mainly been in choruses. Now we have individuals with whom we can identify. Some of the words they sing come from transcripts made at the time, others are imaginative creations. It doesn’t matter. In these arias there’s dramatic reality. Leon Klinghoffer is presented as a likeable hero, and at last the opera has human focus. Alan Opie sings Klinghoffer so he comes over as a strong, reasonable man of authority, establishing a moral compass. The Aria of the Falling Body anchors Adams’s wavering oscillations with emotional truth.
Christopher Magiera as the Captain and Richard Burkhard as Mamoud
Michaela Martens' arias as Marilyn Klinghoffer are tours de force, the last adding bite. The Captain (Christopher Magiera) handled the situation with cool headed professionalism. offering his own life to save his passengers, but Adams and Goodman don’t dilute the focus from Klinghoffer to make the Captain a hero. Mrs Klinghoffer, in her grief, can’t understand why her husband was killed without her knowing. It’s a thoughtful detail to include in the opera since in these situations no-one knows everything all the time. Fine vignettes too from Lucy Schaufer (The Swiss Grandmother), Clare Presland (The Palestinian Mother) and Kate Miller Heidke (The British Dancing Girl), so clueless that she doesn’t comprehend the enormity of what’s happening. In a much needed twist of humour, Adams adds snatches of pop music around the part.
Baldur Brönimann conducted the orchestra so details surfaced tellingly from the amorphous textures. He’s a specialist in modern repertoire and understands how the genre operates. This music is not an undifferentiated mass.
The staging, however, was much less sensitive. Directed by Tom Morris with designs by Tom Pye, it tried to give shape to Adams’s oblique non-forms by over emphasizing the literal, perhaps to create the sensationalism Adams and Goodman avoid. The dance sequences are awful, completely at odds with the story. This is not a game. It is more than just a struggle over a country, it’s part of the eternal struggle between haves and have-nots. In this production, the Palestinians raise their fists in the classic gesture of the oppressed. For a moment it looks like a Nazi salute. What the hijackers did was evil, but it does not follow that the poor should not act, whoever they might be. The scenes where Finn Ross’s video projections fill the stage are far more effective, and being semi-abstract, are more faithful to Adams’s idiom.
The Death of Klinghoffer has its longueurs but it’s an important statement. Twenty five years after the Achille Lauro hijacking, terrorism is, if anything, more widespread and more savage than ever before. Twin Towers, the school in Beslan, the cinema in Moscow, and Utøya. Is there something to be learned from The Death of Klinghoffer? Many thanks to the ENO for giving us a chance to hear for ourselves.