19 Jul 2012
David et Jonathas at the Aix Festival
Rare, very rare repertory that is not even opera stole the show at the sixty fourth Aix Festival.
Opera Philadelphia deserves congratulations on yet another coup. The company co-commissioned Cold Mountain, an opera by Jennifer Higdon based on Gene Scheer’s adaptation of Charles Frazier’s celebrated Civil War epic.
For their first of two recitals at the Wigmore Hall, Christian Gerhaher and Gerold Huber devised an interesting programme - popular Schubert mixed with songs by Wolfgang Rihm and by Huber himself.
There are not many opera productions that you would cross oceans to see. Graham Vick’s Götterdämmerung in Sicily however compelled such a voyage.
Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.
Robert Ashley’s opera-novel Quicksand makes for a novel experience
One of the leading Russian composers of his generation, Alexander Raskatov’s reputation in the UK and western Europe derives from several, recent large-scale compositions, such as his reconstruction of Alfred Schnittke’s Ninth Symphony from a barely legible manuscript (the work was first performed in 2007 in the Dresden Frauenkirche by the Dresden Philharmonic under Dennis Russell Davies), and his 2010 opera A Dog’s Heart, based on Mikhail Bulgakov’s satire (which was directed by Simon McBurney at English National Opera in 2010, following the opera’s premiere at Netherlands Opera earlier that year).
I’m not sure that St John’s Smith Square was the most appropriate venue for Opera Danube’s latest production: Jacques Offenbach’s satirical frolic, Orpheus in the Underworld.
This nasty little opera evening in Lyon lived up to the opera’s initial reputation as pure pornophony. This is the erotic Shostakovich of the D minor cello sonata, it is the sarcastic and complicated Shostakovich of The Nose . . .
During December 2015 and presently in January Lyric Opera of Chicago has featured the world premiere of the opera Bel Canto, with music by Jimmy López and libretto by Nilo Cruz, based on the novel by Ann Patchett.
Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.
The title role is a deciding factor in Madama Butterfly. Despite a last-minute conductor cancellation, last Saturday’s concert performance at the Concertgebouw was a resounding success, thanks to Lianna Haroutounian’s opulent, heart-stealing Cio-Cio-San.
With this performance of vocal and instrumental works composed by the 10-year-old Mozart and his contemporaries during 1766, Classical Opera entered the second year of their 27-year project, MOZART 250, which is designed to ‘contextualise the development and influences of [sic] the composer’s artistic personality’ and, more audaciously, to ‘follow the path that subsequently led to some of the greatest cornerstones of our civilisation’.
Luca Pisaroni and Wolfram Rieger were due to give the latest installment in the Wigmore Hall's complete Schubert songs series, but both had to cancel at short notice. Fortunately, the Wigmore Hall rises to such contingencies, and gave us Benjamin Appl and Jonathan Ware. Since there's a huge buzz about Appl, this was an opportunity to hear more of what he can do.
The phrase ‘Sunday afternoon concert’ may suggest light, post-prandial entertainment, but soprano Gemma Lois Summerfield and her accompanist, Simon Lepper, swept away any such conceptions in this demanding programme at St. John’s Smith Square.
When, o when, will someone put Peter Sellars and his compendium of clichés out of our misery?
This recording, made in the Adrian Boult Hall at the Birmingham Conservatoire of Music in June 2014, is the fourth disc in SOMM’s series of recordings with Paul Spicer and the Birmingham Conservatoire Chamber Choir.
Having recently followed some by-ways through the music of Purcell, Monteverdi and Cavalli, L’Arpeggiata turned the spotlight on traditional folk music in this characteristically vibrant and high-spirited performance at the Wigmore Hall.
Edward Gardner brought all his experience as a choral and opera conductor to bear in this stirring performance of Michael Tippett’s A Child of Our Time at the Barbican Hall, with a fine cast of soloists, the BBC Symphony Orchestra and BBC Symphony Chorus.
‘Apt for voices or viols’: eager to maximise sales among the domestic market in Elizabethan England, publishers emphasised that the music contained in collections such as Thomas Morley’s First Book of Madrigals to Four Voices of 1594 was suitable for performance by any combination of singers and players.
It was a single title but a double bill and there was far more happening than Gordon Getty and Claude Debussy. Starting with Edgar Allen Poe.
Rare, very rare repertory that is not even opera stole the show at the sixty fourth Aix Festival.
It was an oratorio, David et Jonathas, by Marc-Antoine Charpentier who created between the acts tableaux for Molière comedies before Louis XIV banned frivolous entertainments, like plays and opera. Thus theater, never to be suppressed, moved to the concert hall where bible stories were told. That they were really operas anyway was a secret no one told.
David et Jonathas is about two boys who love each other passionately (that’s the David of the Goliath story by the way, and Jonathas, son of Saul) . And yes, there was a prolonged kiss in the Aix staging by Andreas Homoki, lately intendant of Berlin’s Komishe Oper, coming in as that of Zurich Opera. William Christie and his Les Arts Florisants orchestra were in the pit, about forty musicians, including 24 strings to provide a big, lush sound and winds and percussion to add seemingly infinite colors. The wind roll and thunder sheet, both exceptionally well played, made the case for the virtuosity of this famed early music ensemble.
In concert with all this fire power were its three principal singers, Pascal Charboneau as David, Ana Quintans as Jonathas and Neal Davies as Saul, who delivered the maximum rapture, agony and rage that any drama of the Baroque could possibly conjure. There can be no way to hear how this music sounded long ago, but the suspicion lurks that three centuries of operatic progress have layered bel canto, verismo and expressionism onto what singing once was. These singers gave us all of this.
In these voices the usual vocal technique of floating a tone on a column of air gave way (it seemed) to singing on the chords (the vocal chords), like shouting (or screaming) where the vocal urgency is apparent. Of course exercised by these artists it was singing at its most dramatic. And seventeenth century Catholic priest librettist Père François de Paule Bretonneau gave Charpentier’s singers a lot to sing about.
In the Homoki staging David, an outcast of both the Jews and the Philistines, has been taken into the bosom of Saul’s household, the en famille dinner table. The silent mother, first portrayed by an actress and later brilliantly sung by identically costumed counter-tenor Dominique Visse provides the love, Saul is consumed by suspicions, obsessed that David is a powerful rival. Homoki introduced the innocence and intensity of the David/Jonathas relationship in the overture with two young boys happily playing in Saul’s home. These young boys, wonderful actors, later in the opera may have sung a brief duet as their lips moved though no sound was apparent.
Homoki gently and succinctly portrays the crisis in Saul’s mind and kingdom (Saul’s family) by pantomiming the death of the mother. But the mother transformed into the witch Pythonisse, now Mr. Visse, who appears to torment Saul in a lengthy scene where her presence is inexorably intensified by ten (or so) identical mothers. Mr. Visse rendered this scene otherworldly in an operatic voice that is feminine but is not. It was the voice of a witch.
Young Canadian tenor Pascal Charboneau as David compelled us to suffer the death of Jonathas, his love, to be trapped in his complex feelings for his surrogate father and sworn enemy Saul and to understand his emotional desolation at his coronation as the bible’s King David. Mr. Charboneau is a dynamic performer who has yet to gain final finish though this roughness added to his performance. Portuguese soprano Ana Quintans as Jonathas made time stand still in her lament that she (Jonathas) must forsake her love for David, the eternal nature of such love expressed in suspended tones floating above the staff. Mlle. Quintans is a quite polished singer and actress. English baritone Neal Davies made Saul both a conflicted, more or less contemporary Orthodox Jew pater familias and a conflicted political leader. Stabbed by David he lay seemingly dead through an extensive scene until resurrected by rage he made a final, extensive, spine tingling, vocally splendid lunge at David to avenge the death of his son.
Mr. Homoki with his designer, architect Paul Zoller played on the concert genesis of the opera by constructing a huge wooden box, like a concert stage. It was however a sentient machine that expanded and contracted in concert with the drama and its music, its side walls moving in to crush Saul as he learns that God has forsaken him. Its walls again move in to crush Jonathas when he must decide if he will forsake his duty to his father for the sake of his love for David. The costumes by Gideon Davey were brilliantly simple, a timeless modern adaptation of Orthodox dress and an adaptation of the Arabic thwab.
Not to forget to extol the exemplary performance by Les Arts Florisants chorus, both individual voices in solo lines and the scenes with full chorus. Not only did this fine ensemble find the urgency and excitement of opposing populations in its vocal projection, its members physically embodied the action in stance and movement. It was an opera chorus performance of stellar accomplishment.