Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman
theatre of Aspendos near Antalya in southern Turkey is not an arena or
amphitheatre at all, so there are not nearly as many ghosts of gored gladiators
or dismembered Christians to disturb the contemporary feng shui as in
other ancient loci of Imperial amusement.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard
Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014
by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine
Goerke in the title role.
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!
Philip Glass: Einstein on the Beach, Barbican, London
Any performance of Philip Glass’ epic Einstein on the Beach (1976) is a major event. The work’s duration is around five hours and it is directed to be performed without interval (although see below — we had one).
Philip Glass : Einstein on the Beach
Einstein / Solo Violinist: Antoine Silverman; Featured Performer: Helga Davis; Featured Performer: Kate Moran; Boy: Jasper Newell; Mr Johnson: Charles Williams. Philip Glass Ensemble. Conductor: Michael Riesman. Director: Robert Wilson. Choreography: Lucinda Childs. Barbican Theatre, London, Friday, May 4th 2012.
Members of the audience are invited to come and go as they please (and some went and didn’t then come back, arguably with some justification). The programme for the event is high-class in itself, lavishly illustrated and includes the libretto, itself remarkably succinct, and a host of other information. None of which helps, really.
The booklet is adorned by a single shaft of white light against a black background— actually from the segment ‘Bed’, in which the shaft moves ever so slowly (tortuously, one might say) towards and upright position before it ascends. All very symbolic— but of what?. The answer is to drop the search for meaning and enjoy the ride and, as a sequence of beautifully executed dances (there is far more dancing than singing) and comedic soap operas (the Trial Scenes, in which one character bore a spooky resemblance to Margaret Thatcher), it works a lot better. Or rather it works differently, for to drop the search for meaning means either to let it all wash over you, or to open a gateway to the subconscious. Injecting Glass into your brain in that way (pardon the pun) might work for some (and probably worked a whole lot better thirty-odd years ago), but alas these days it all comes out as rather dated.
And that sequence of whats— of what?, in what?, to what?— is one that hovers over the entire evening, culminating, at least immediately, in a huge ‘so what?’. Glass’ music rarely moves the listener, except to induce a state of trance, perhaps. So at the end of this sequence of scenes (narrative trajectory really isn’t the point here)— one leaves the Barbican Theatre in a state of some frustration. Just like when you can’t sleep but you know you’re achingly tired. That sort of frustration.
Glass worked with Robert Wilson to produce this minimalist behemoth, taking a series of drawings by Wilson and adding his own characteristic music. There is a sort of willful obfuscation that runs through the piece, and Glass and Wilson seem to make this explicit through the image of a clock running backwards— here, truly, nothing is as it seems.
That it was even longer than it should have been only added to the problems. There was a hiatus (I don’t really want to call it an interval) of what was promised to be ten minutes and ended up being some twenty. This was to fix a succession of glitches that had affected the production, from bits of set really not being where they should be to stage hands with torches in full visibility wondering around, looking as baffled as the audience probably was about the production anyway. It was Wilson himself that came out to apologise— and also to tell us that figures in the final scene wouldn’t be flying around as originally intended.
The standard of performance was remarkably high, as one would perhaps expect from Glass specialists. Antoine Silverman, as Einstein, was jaw-droppingly good. Dressed as Einstein and sitting on the corner of the stage, his violinistic pyrotechnics were magnificent. One shudders to think how long it must have taken to learn Glass’ horribly fast repetitions— one also has to ask was it worth it though. The scenes which were good, were good— the Knee Plays (Helga Davis and Kate Moran) were dispatched with a superb sense of fascinating detachment. The chorus, too, was exemplary, as were the seasoned instrumentalists. But it was the dancers that impressed most— it was impossible to take one’s eyes off them, whether whirling around the stage like dervishes or in stylized movement that evoked Noh theatre.
Einstein on the Beach is the first of three operas Glass wrote on historical figures (the other two are Akhnaten— memorably staged in the 1980s by ENO and centering on the Pharoah who introduced monotheism a long time before Christians jumped on the bandwagon— and Satyagraha, based on the life and teaching of Gandhi). In fairness, some of the excitement of this novelly-constructed work came through, but that was duet to the excellence of performance and dancing. And Glass still has the ability to refract time— in an analogous way to Wagner, for in both cases we experience time differently, yet in a different way (in Glass through mesmeric repetition rather than via Wagnerian extended harmonic plateaux). Try the Entrance Music for Trial 1 to see what I mean.
And yet, and yet as I write some three days on from the evening of performance, there is the niggling feeling that, despite its shortcomings and frustrations, Einstein on the Beach has affected me ins some deep but as yet unlabelled way. Yes, it sounds like Glass should, but it also has a sound-aura all of its own. Images of the Trial Scenes, with their cutesy comedy, reappear and resonate. The impeccable dancers continue to cast a spell. Hence the frustration of the end of the experience slowly transforming itself over the course of the past few days. I’m not sure I’d like to hear it again in the near future, though. Perhaps in another thirty years?