Recently in Performances
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.
David Little composed his one-man opera, Soldier Songs, ten years ago and the International Festival of Arts & Ideas of New Haven, Connecticut, premiered it in 2011. At San Diego Opera, the fifty-five minute musical presentation and the “Talk Back” that followed it were part of the Shiley dētour Series which is held in the company’s smaller venue, the historic Balboa Theatre.
On Saturday evening November 12, 2016, Pacific Opera Project presented Gioachino Rossini’s comic opera The Barber of Seville in an updated version that placed the action in Hollywood. It was sung in the original Italian but the translation seen as supertitles was specially written to match the characters’ Hollywood identities.
A Butterfly for the ages in a Butterfly marred by casting ineptness and lugubrious conducting.
In 1964, 400 years after the birth of the Bard, the writer Anthony Burgess saw Cole Porter’s musical comedy Kiss Me, Kate, a romping variation on The Taming of the Shrew. Shakespeare’s comedy, Burgess said, had a ‘good playhouse reek about it’, adding ‘the Bard might be regarded as closer to Cole Porter and Broadway razzmatazz’ than to the scholars who were ‘picking him raw’.
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.