Recently in Performances
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.
In typical Proms fashion, BBC Prom 28 saw Stravinsky's Oedipus Rex performed in an eclectic programme which started with Beethoven's Egmont Overture and also featured Electric Preludes by the contemporary Australian composer Brett Dean. Sakari Oramo,was making the first of his Proms appearances this year, conducting the BBC Symphony Orchestra, BBC Singers and BBC Symphony Chorus.
Santa Fe Opera presented Beethoven’s Fidelio for the first time in 2014. Since the sides of the opera house are open, the audience watched the sun redden the low hanging clouds and set below the Sangre de Cristo mountains while Chief Conductor Harry Bicket led the Santa Fe Opera Orchestra in the rousing overture. At the same time, Alex Penda as the title character readied herself for the ordeal to come as she endeavored to rescue her unjustly imprisoned husband.
Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17.
Twelve years after Opera Holland Park's first production of Francesco Cilea’s Adriana Lecouvreur, the opera made a welcome return.
The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre.
Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission.
If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.
Composed during just a few weeks of the summer of 1926, Janáček’s Slavonic-text Glagolitic Mass was first performed in Brno in December 1927.
19 Apr 2012
Wolfgang Rihm’s Jakob Lenz by ENO
When the ENO does really innovative work, it does so with style. Wolfgang Rihm’s Jakob Lenz may have taken 34 years to reach London fully staged, but this ENO production made such a strong impression that it might be years before it will be forgotten.
Wolfgang Rihm is one of the most important German composers of our time, and hugely influential. His orchestral and chamber music are well known in Britain, but less so his many operas. Jakob Lenz dates from 1978, when Rihm was only 24, but it’s an established part of the repertoire in Europe.
The Hampstead Theatre is a more claustrophobic performance space than the Young Vic or the Coliseum, which suits this opera well. Jakob Lenz was the Romantic poet who became insane. The stage is shrouded, as if in a mist, surrounded by realistic looking reeds. A reference to Wozzeck working in the reed beds, hallucinating mushrooms. The play on which Rihm’s Jakob Lenz is based was written by Georg Büchner who wrote Woyzeck, the source of Alban Berg’s opera.
Crazy, tangled images of reeds and water permeate this production Jakob Lenz is trapped in his madness: most of the action takes place on a narrow island on a stage within the stage. Lenz (Andrew Shore) keeps falling off the edge into real water, sometimes completely submerged. Pastor Johan Oberlin (Jonathan Best) doesn’t seem to notice, but Lenz’s friend Christoph Kaufmann (Richard Roberts) glances warily round the edges, careful not to lose his footing. It feels dangerous.
Andrew Shore as Jakob Lenz, Lillie Forrester as one of the children, Suzy Cooper as Friederike Brion
Lenz’s psychosis connects to these waters. He drags a young girl into the pond and drowns her. Or so he thinks. Reason blurs into unreality, just as land blurs into water in these reed beds. Lenz thinks the girl, whatever she may be, is raised from the dead because he prays. “Lenz”, incidentally, means “spring” which would not have been lost on poet, playwright or composer. The girl (Lillie Forrester) isn’t a real girl, but may be Lenz’s idealized projection of himself. “Logical, Logical!” he repeats later, as if mantras will restore order. In that sense, he’s not really so different to the pastor and to the church around which this village clings. An outline of the church looms over the proceedings, and its mirror image forms the platform on which Lenz moves.
Hyper-realistic staging for an opera where reality is so distorted that the narrative disintegrates. Lenz is obssessed by Friederike Brion (Suzy Cooper) who was interested in Goethe, not in Lenz, though in Lenz’s mind she is a kind of muse. She’s seen in powdered wig and face, like a ghostly wraith. An apparition as much as a character, and not a woman, as such. This very busy setting was wise, for Wolfgang Rihm’s music is too intense to be easy listening. British audiences aren’t used to Rihm yet and need picture postcard images from Caspar David Friedrich to distance themselves from the extreme emotion in this music.
Andrew Shore as Jakob Lenz and Richard Roberts as Christoph Kaufmann
But what music it is! Intensely atmospheric, almost pictorial. Oboes, bass clarinets, bassoon and cellos, moaning ominously like wind in the reeds, echoing the otherworldy choruses. A harpsichord screams in shrill desperation. Hollow wooden tapping, muted percussion like frantic heartbeats. Sudden cries from small trumpet. Strings plucked and beaten, sounds half heard from beyond the auditorium. Hearing Rihm’s Jakob Lenz audio only can drive you crazy, but that’s the point. Lenz is an artist. Oberlin isn’t, though he’s nice. Must artists be driven like Lenz is? Imagination is powerful because it hints at more than it tells.
Performance of a lifetime from Andrew Shore as Jakob Lenz, with strong support from Jonathan Best, Richard Roberts and Suzy Cooper, plus good chorus and actors. This isn’t an opera or a production for those who think Rusalka should be a pretty fairy tale, but it’s like a fairy tale in that it deals with subjects that can’t be easily explained. Georg Büchner’s original play (1836) treated psychosis in a modern, non-judgemental way. Generations before, Jakob Lenz might have been burned as a male witch. Büchner tries instead to understand, and Rihm gets us inside Jakob Lenz’s head, so we might feel as he does. It’s not comfortable, but most definitely important. Sam Brown is the director, Annemarie Woods the designer. For bringing Rihm’s Jakob Lenz to London, the ENO deserves every accolade.