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.
Bernard Haitink’s monumental Bruckner and Mahler performances with the Royal Concertgebouw Orchestra (RCO) got me hooked on classical music. His legendary performance of Bruckner’s Symphony No. 8 in C-minor, where in the Finale loosened plaster fell from the Concertgebouw ceiling, is still recounted in Amsterdam.
Karita Mattila was born to sing Emilia Marty, the diva around whom revolves Leoš Janáček's The Makropulos Affair (Věc Makropulos). At Prom 45, she shone all the more because she was conducted by Jirí Belohlávek and performed alongside a superb cast from the National Theatre, Prague, probably the finest and most idiomatic exponents of this repertoire.
‘Two outrageous operas in one crazy evening,’ reads the bill. Hyperbole? Certainly not when the operas are two of Jacques Offenbach’s more off-the-wall bouffoneries and when the company is Opera della Luna whose artistic director, Jeff Clarke, is blessed with the comic imagination and theatrical nous to turn even the most vacuous trivia into a sharp and sassy riotous romp.
This performance of Britten's A Midsummer Night's Dream at Glyndebourne was so good that it was the highlight of the whole season, making the term ‘revival’ utterly irrelevant. Jakub Hrůša is always stimulating, but on this occasion, his conducting was so inspired that I found myself closing my eyes in order to concentrate on what he revealed in Britten's quirky but brilliant score. Eyes closed in this famous production by Peter Hall, first seen in 1981?
A staged piano recital and an opera as a concert. Pianist András Schiff accompanied the Salzburg Marionette Theater at the Mozarteum Grosser Saal and Anna Netrebko sang Manon Lescaut at the Grosses Festspielhaus.
On August 4, 2016, soprano Leah Crocetto and accompanist Tamara Sanikidze gave a recital at the Scottish Rite Center in Santa Fe New Mexico. A winner of the Metropolitan Opera Auditions and the BBC Cardiff Singer of the World Contest, this year Crocetto was singing Donna Anna in Santa Fe Opera’s excellent Don Giovanni.
On July 31, 2016, against the ethereal beauty of the main hall in the Scottish Rite Center, soprano Angela Meade and pianist Joe Illick gave a recital offering both opera and art songs ranging in origin from early nineteenth century Europe to mid twentieth century America. Many in the audience probably remembered Meade’s recent excellent portrayal of Norma at Los Angeles Opera.
When more is definitely more, and less would indeed be less. Two of the biggest names in Italian theater art collide in an eponymous theater.
It was the fifth Proms Chamber Music concert at Cadogan Hall this season, and we were celebrating Shakespeare’s 400th. And, given the extent and range of the composers and artists, and the diversity and profundity of the musical achievement inspired by the Bard, we could probably keep celebrating in this fashion ad infinitum.
Each August the bleak and leaky, 12,000 seat Arena Adriatica (home of the famed Pesaro basketball team) magically transforms itself into an improvised opera house that boasts the ultimate in opera chic — exemplary Rossini production standards for its now twelve hundred seats.
This highly enjoyable Prom, part of 2016’s ‘Proms at ’ mini-series, took as its guiding concept the reopening of London’s theatres following the Restoration, focusing in particular upon musical and dramatic responses to Shakespeare. Purcell, rightly, loomed large, with John Blow and Matthew Locke joining him. Receiving their Proms premieres were the excerpts from Timon of Athens and those from Locke’s The Tempest.
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When we entered the Crosby Theatre for Gounod’s Roméo et Juliette the stage was surprisingly dominated by a somber, semi-circular black mausoleum, many chambers inscribed with scrambled names of US Civil War era dead.
Molten passions were seething just below the icy Nordic exterior of Santa Fe Opera’s wholly masterful production of Barber’s Vanessa.
Farce is probably the most difficult of dramatic comedy sub-genres to put across. A farce got up in the stately robes of opera sets its presenters an even higher bar. Presenting an operatic farce on a notoriously chilly and cavernous auditorium is to risk catastrophe.
Fan interest began raging when Santa Fe Opera engaged venerable artist Patricia Racette to make her role debut as Minnie in Puccini’s La Fanciulla del West.
A funny thing happened on the way to Andalusia.
The tale of a Syrian donkey driver. And, yes, the donkey stole the show! The competition was intense — the Vienna Philharmonic and the Grosses Festspielhaus in full production regalia for starters.
Two men, one woman. Both men worshipped and enshrined her in their music. The younger man was both devotee of and rival to the elder.
This Cosi fan tutte concludes the Salzburg Festival's current Mozart / DaPonte cycle staged by Sven-Eric Bechtolf, the festival's head of artistic planning.
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.