Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Rameau Grand Motets, BBC Proms

Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17. Perfection, as one would expect from arguably the finest Rameau interpreters in the business, and that's saying a lot, given the exceptionally high quality of French baroque performance in the last 40 years.

Adriana Lecouvreur Opera Holland Park

Twelve years after Opera Holland Park's first production of Francesco Cilea's Adriana Lecouvreur, the opera made a welcome return.

Back to the Beginnings: Monteverdi’s Il ritorno d’Ulisse in patria at Iford Opera.

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. The world of commercial public opera had only just dawned with the opening of the Teatro San Cassiano in Venice in 1637 and for the first time opera became open to all who could afford a ticket, rather than beholden to the patronage of generous princes. Monteverdi took full advantage of the new stage and at the age of 73 brought all his experience of more than 30 years of opera-writing since his ground-breaking L’Orfeo (what a pity we have lost all those works) to the creation of two of his greatest pieces, Ulysses and then his final masterpiece, Poppea.

Schoenberg : Moses und Aron, Welsh National Opera, London

Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission. It is a sad state of affairs when a season that includes both Boulevard Solitude and Moses und Aron is considered exceptional, but it is - and is all the more so when one contrasts such seriousness of purpose with the endless revivals of La traviata which, Die Frau ohne Schatten notwithstanding, seem to occupy so much of the Royal Opera’s effort. That said, if the Royal Opera has not undertaken what would be only its second ever staging of Schoenberg’s masterpiece - the first and last was in 1965, long before most of us were born! - then at least it has engaged in a very welcome ‘WNO at the Royal Opera House’ relationship, in which we in London shall have the opportunity to see some of the fruits of the more adventurous company’s endeavours.

Rossini is Alive and Well and Living in Iowa

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.

Gergiev : Janáček Glagolitic Mass, BBC Proms

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. During the rehearsals for the premiere - just 3 for the orchestra and one 3-hour rehearsal for the whole ensemble - the composer made many changes, and such alterations continued so that by the time of the only other performance during Janáček’s lifetime, in Prague in April 1928, many of the instrumental (especially brass) lines had been doubled, complex rhythmic patterns had been ‘ironed-out’ (the Kyrie was originally in 5/4 time), a passage for 3 off-stage clarinets had been cut along with music for 3 sets of pedal timpani, and choral passages were also excised.

Donizetti and Mozart, Jette Parker Young Artists Royal Opera House, London

With the conclusion of the ROH 2013-14 season on Saturday evening - John Copley’s 40-year old production of La Bohème bringing down the summer curtain - the sun pouring through the gleaming windows of the Floral Hall was a welcome invitation to enjoy a final treat. The Jette Parker Young Artists Summer Showcase offered singers whom we have admired in minor and supporting roles during the past year the opportunity to step into the spotlight.

Glyndebourne's Strauss Der Rosenkavalier, BBC Proms

Many words have already been spent - not all of them on musical matters - on Richard Jones’s Glyndebourne production of Der Rosenkavalier, which last night was transported to the Royal Albert Hall. This was the first time at the Proms that Richard Strauss’s most popular opera had been heard in its entirety and, despite losing two of its principals in transit from Sussex to SW1, this semi-staged performance offered little to fault and much to admire.

Il turco in Italia at the Aix Festival

Twenty years ago stage director Christopher Alden introduced Rossini’s then forgotten comedy to Southern California audiences in a production that is still remembered. In Aix Alden has revisited this complex work that many critics now consider Rossini’s greatest comedy.

First Night of the BBC Proms : Elgar The Kingdom

The BBC Proms 2014 season began with Sir Edward Elgars The Kingdom (1903-6). It was a good start to the season,which commemorates the start of the First World War. From that perspective Sir Andrew Davis's The Kingdom moved me deeply.

Le nozze di Figaro, Munich

One is unlikely to come across a cast of Figaro principals much better than this today, and the virtues of this performance indeed proved to be primarily vocal.

Winterreise and Trauernacht at the Aix Festival

That’s A Winter’s Journey and A Night of Mourning for metteurs-en-scène William Kentridge (South Africa) and Katie Mitchell (Great Britain), completing the clean sweep of English language stage directors for the Aix Festival productions this year.

James Gilchrist at Wigmore Hall

Assured elegance, care and thoughtfulness characterised tenor James Gilchrist’s performance of Schubert’s Schwanengesang at the Wigmore Hall, the cycles’ two poets framing a compelling interpretation of Beethoven’s An die ferne Geliebte.

Music for a While: Improvisations on Henry Purcell

‘Music for a while shall all your cares beguile.’ Dryden’s words have never seemed as apt as at the conclusion of this wonderful sequence of improvisations on Purcell’s songs and arias, interspersed with instrumental chaconnes and toccatas, by L’Arpeggiata.

Nabucco at Orange

The acoustic of the gigantic Théâtre Antique Romain at Orange cannot but astonish its nine thousand spectators, the nearly one hundred meter breadth of the its proscenium inspires awe. There was excited anticipation for this performance of Verdi’s first masterpiece.

Saint Louis: A Hit is a Hit is a Hit

Opera Theatre of Saint Louis has once again staked claim to being the summer festival “of choice” in the US, not least of all for having mounted another superlative world premiere.

La Flûte Enchantée (2e Acte)
at the Aix Festival

In past years the operas of the Aix Festival that took place in the Grand Théâtre de Provence began at 8 pm. The Magic Flute began at 7 pm, or would have had not the infamous intermittents (seasonal theatrical employees) demanded to speak to the audience.

Ariodante at the Aix Festival

High drama in Aix. Three scenarios in conflict — those of G.F. Handel, Richard Jones and the intermittents (disgruntled seasonal theatrical employees). Make that four — mother nature.

Lucy Crowe, Wigmore Hall

The programme declared that ‘music, water and night’ was the connecting thread running through this diverse collection of songs, performed by soprano Lucy Crowe and pianist Anna Tilbrook, but in fact there was little need to seek a unifying element for these eclectic works allowed Crowe to demonstrate her expressive range — and offered the audience the opportunity to hear some interesting rarities.

The Turn of the Screw, Holland Park

‘Only make the reader’s general vision of evil intense enough … and his own experience, his own imagination, his own sympathy … will supply him quite sufficiently with all the particulars.

OPERA TODAY ARCHIVES »

Performances

Ben Heppner as Tristan and Ann Petersen as Isolde [Photo by David Massey courtesy of Welsh National Opera]
31 May 2012

Tristan und Isolde, Welsh National Opera

Yannis Kokkos originally directed and designed Tristan und Isolde as a co-production for Welsh National Opera and Scottish Opera nearly 20 years ago. The production’s latest revival, directed by Peter Watson, was premiered at the Wales Millennium Centre on 19 May 2012.

Richard Wagner: Tristan und Isolde

Sailor: Simon Crosby Buttle; Helmsman: Julian Boyce; Isolde: Ann Petersen; Brangäne: Susan Bickley; Kurwenal: Phillip Joll; Tristan: Ben Heppner; Melot: Simon Thorpe; King Marke: Matthew Best; Shepherd: Simon Crosby Buttle. Conductor: Lothar Koenigs. Director and Designer: Yannis Kokkos. Revival Director: Peter Watson. Choir and Orchestra of Welsh National Opera. Wales Millenium Centre, Cardiff, 19th May 2012.

Above: Ben Heppner as Tristan and Ann Petersen as Isolde [Photo by David Massey courtesy of Welsh National Opera]

 

A work the size of Tristan und Isolde is something of a challenge for a touring company like WNO and this production will only be played in Cardiff (19/5, 26/5, 2/6) and Birmingham (16/6) with a concert version at the Edinburgh Festival.

The production has worn well and Kokkos’s sets still look very handsome. Kokkos provides a fixed structure of a frame with a frame, and within this uses semi-abstract sets to evoke the ship in act 1, the forest in act 2 and the rocks of Kareol in act 3, in generally cool grey tones. In doing so he gives himself a fluid and flexible acting area. Costumes are timeless, evoking medieval but with quite a heavy reliance on that old stand-by, the great coat. The results mean that the women looked elegant and the men suitably heroic.

Kokkos has not specific axe to grind in the production, no psychological idée fixe and he seems content to tell the story with clarity, and certainly no dramatic additions such as Brangäne’s liaison with Kurwenal during act 2 (in the recent Covent Garden production).

In act 1, Tristan (Ben Heppner) and Kurwenal (Phillip Joll) are on the upper level, behind a scrim, with the the action of the ship evoked in a series of tableaux, whilst at the front Isolde (Ann Petersen) and Brangäne (Susan Bickley) are at the front on the lower level, separated physically and emotionally from the men. In act 2, the forest forms the back-drop for the long sweep of stairs on which the lovers’ meeting takes place. This is not a production where Tristan and Isolde never touch; Kokkos arranges the love-duet into a series of static scenes where the lovers intertwine. For act 3 the set is reduced to a single, huge slab sloping down the stage, resting at the rear on the rocks from which the Shepherd (Simon Crosby Buttle) keeps look-out.

Within this, there was a lot of scope for drama, this opera essentially relying on the interactions between the principals. Here the revival director does not seem to have been able to engender a real dramatic spark between Heppner and Petersen. In act 1, Petersen delivered Isolde’s curse with brilliant vehemence and gleaming tone, but in her scene with Heppner’s Tristan, the two seemed just a little too polite with each other. We relied on the music to transport us. The same happened in act 2, where non action of the love duet very much relied upon the music to give it dramatic impulse. In their solo moments both Heppner and Petersen proved acute, so it was a shame that the two did not develop their relationship more.

Petersen is a young Danish soprano who is developing as a dramatic soprano. Recent engagements have included her first Leonore and Marschallin, along with Elsa, Elizabeth and Ariadne. She has further Isoldes lined up plus Senta, the Empress (Die Frau ohne Schatten) and Sieglinde. That her progress to more dramatic roles is being carefully considered is confirmed by the way she sang Isolde with a voice of great lyric beauty. Her voice rode the orchestra at the crucial points, but she did not force the tone. Conductor Lothar Koenigs seemed to be a sympathetic partner, not pushing the orchestra towards drowning the soprano.

Petersen had a good feel for the text; her coloration of the words was always notable. This was a dramatic performance, certainly not one where the voice was content to coast over Wagner’s luxuriant orchestration. Physically as well, Petersen is an apt performer, ensuring that the unspoken/unsung moments of drama tell for as much as the spoken ones. She was at her best in this in act 1, where there is much that an acute Isolde like Petersen can do to develop the drama.

She was a strong and equal partner to Heppner in the love duet, each egging the other on musically towards the ultimate coitus interruptus of the climax. Here her performance was less dramatic, and you sensed a desire to allow the music space. Though, as I have said, I feel more could have been made of this scene.

Her account of the Liebestod was beautifully rapturous. At all times she preserved the beauty of tone and moulded Wagner’s phrases intelligently. Kokkos phased out the drama during this scene, gradually focusing attention on the single figure of the transfigured Isolde to close the action.

Having been through a difficult period with his voice, attention inevitably focused on Ben Heppner’s Tristan. I had missed hearing him in London when he cancelled due to illness, so was pleased to catch up with him in the role in Cardiff. Heppner remains a hugely vivid and dramatic performer, one who can be intensely expressive notwithstanding his bulk. His size meant that, inevitably, Tristan had a substantial and heroic presence from the start. His voice has lost its burnished beauty of tone, but retains a massive, granite-like grandeur. The feeling that Heppner was hewing the tenor part out of rock contributed immensely to his performance. Heppner’s Tristan was a warrior who had suffered and would continue to do so, achieving even the rapture of the love duet with difficulty.

His voice took time to warm up and I was worried at first that he might have tuning problems. But things settled down to a feeling of rough-hewn grandeur. In the quieter moments, particularly in the opening of the love duet, Heppner achieved a beauty of tone which matched that of Petersen. Though at the top of his voice there was a certain tightness, a lack of freedom at times. It has to be admitted that he noticeably tired during the performance, with odd notes failing to register properly. But in act 3, he was simply astonishing, achieving a degree of dramatic transfiguration that I would not have believed. Here was a massive character, really suffering.

Susan Bickley’s warm and intensely dramatic Brangäne was one of the strong points of act 1. She formed a strong and believable link with Petersen’s Isolde and Bickley’s vivid performance helped anchor the drama. As a singer, Bickley never ceases to amaze me, she has a wide repertoire and a knack of making a role her own, whether the composer is Handel, Berlioz, Wagner or George Benjamin. Strong Brangänes cannot make a performance of this opera, but with principals as strong as Petersen and Heppner, Bickley was able to contribute to the powerful ensemble feeling of the opera.

Phillip Joll’s Kurwenal was a bluff, old soldier figure; warm and sympathetic with intense regard for Tristan. He provided rock-like support for Heppner’s dramatic power in act 3.

Matthew Best was a committed and intense King Marke. He is one of the best around today and deserved every moment of the long applause he received at the end. But I have to confess that I generally find King Marke a prosy bore and that Best did not quite convince me otherwise. Marke’s long solo at the end of act 2 requires a very, very special touch to pull one’s attention off the love duet. Though Best acquitted himself intelligently, he did not quite manage to pull focus the way he should.

Simon Thorpe was dramatically committed in the role of Melot, Simon Crosby Buttle was nicely mellifluous both as the sailor and the shepherd, with Julian Boyce as the Helmsman.

Lothar Koenigs conducted with sympathy and a good ear for accompanying the singers. He has clearly developed a good relationship with the orchestra and drew a strong performance from them with some good individual solo playing. Koenigs speeds were on the moderate to fast side, but the music never felt rushed. He seemed content to let the drama flow. There weren’t the slow speeds and architectonic feel you get with some conductors, which can be a distinct advantage when it comes to running time.

Any performance of Tristan und Isolde is a landmark and this was anything but a routine revival. The combination of Heppner’s heroic, rough-hewn Tristan with Petersen’s mellifluously intelligent Isolde and Koenigs’ sympathetic accompanying ensured a memorable evening, even if dramatic sparks did not quite fly the way I would have liked.

To a certain extent the virtues of Kokkos’s production are negative, in that it does not get in the way of the music and Kokkos does not try to re-make the work in his own image. But where a company can afford to revive Tristan und Isolde only rarely, and when many of the audience may be seeing it for the first time, this clarity of style can become a positive virtue.

Robert Hugill

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):