27 Feb 2012
John Adams — Death of Klinghoffer, London
John Adams’s The Death of Klinghoffer is on at the English National Opera, London.
Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.
A historical afternoon at the NTR Saturday Matinee occurred with an epic concert version of Prokofiev’s Soviet Opera Semyon Kotko.
Opening night at the Metropolitan is a gleeful occasion even when the composer is long gone, but December 1st was an opening for a living composer who has been making waves around the world and is, gasp, a woman — the second woman composer ever to have an opera presented at the Met.
For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.
As the German language describes so beautifully, a “Schrei aus tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra from the depths of her soul.
Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.
Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.
On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.
Here is one of the next new great conductors. That’s a bold statement, but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment “is the biggest news in the conducting world.” But Ms. Mirga Gražinytė-Tyla will be getting a lot of weight on her shoulders.
Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.
Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.
On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.
Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.
You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.
If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.
Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.
I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.
For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.
Akhnaten is the third in composer Philip Glass’s trilogy of operas about people who have made important contributions to society: Albert Einstein in science, Mahatma Gandhi in politics, and Akhnaten in religion. Glass’s three operas are: Einstein on the Beach, Satyagraha, and Akhnaten.
Shakespeare re-imagined for the very Late Baroque, with Bampton Classical Opera at St John's Smith Square. "Shakespeare, Shakespeare, Shakespeare....the God of Our Idolatory". So wrote David Garrick in his Ode to Shakespeare (1759) through which the actor and showman marketed Shakespeare to new audiences, fanning the flames of "Bardolatory". All Europe was soon caught up in the frenzy.
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.