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.
‘Stay away from doctors; they are bad for your health.’ This seems to be the central message of L’Ospedale - a one-hour opera by an unknown seventeenth-century composer, with a libretto by Antonio Abati which presents a satirical critique of the medical profession of the day and those who had the misfortune to need curative treatment for their physical and mental ills.
‘In these times of heightened security we are listening, watching ’
Arrigo Boito Mefistofele was broadcast livestream from the Bayerische Staatsoper in Munich last night. What a spectacle !
The monochrome palette of Picasso’s Guernica and the mural’s anti-war images of suffering dominate Calixto Bieito’s new production of Verdi’s The Force of Destiny for English National Opera.
The world premiere of Morgen und Abend by Georg Friedrich Haas at the Royal Opera House, London — so conceptually unique and so unusual that its originality will confound many.
Company XIV’s production of Cinderella is New York City theater at its finest. With a nod to the court of Louis the XIV and the grandiosity of Lully’s opera theater, Company XIV manages to preserve elements of the French Baroque while remaining totally innovative, and never—in fact, not once for the entire two and a half hour show—falls prey to the predictable. Not one detail is left to chance in this finely manicured yet earthily raw production of Cinderella.
This was a concert where immense satisfaction was derived equally from the quality of musicianship displayed and the coherence and resourcefulness of the programme presented. In 1610, Claudio Monteverdi published his Vespro della Beata Vergine for soloists, chorus, and orchestra.
This well-packed disc is a delight and a revelation. Until now, even the most assiduous record collector had access to only a few of the nearly 100 songs published by Félicien David (1810-76), in recordings by such notable artists as Huguette Tourangeau, Ursula Mayer-Reinach, Udo Reinemann, and Joan Sutherland (the last-mentioned singing the duet “Les Hirondelles” with herself!).
If not timeless, Robert Carsen’s production of Francis Poulenc’s Dialogues des Carmélites is highly age-resistant.
Ermanno Wolf-Ferrari was one of the Italian composers of the post-Puccini generation (which included Licinio Refice, Riccardo Zandonai, Umberto Giordano and Franco Leoni) who struggled to prolong the verismo tradition in the early years of the twentieth century.
On Saturday evening October 31, 2015, the Nantucket whaling ship Pequod journeyed to Los Angeles Opera and began its sixth voyage in the attempt to kill the elusive whale called Moby-Dick.
Great Scott is a combination of a parody of bel canto opera and an operatic version of All About Eve. Beloved American diva Arden Scott (Joyce DiDonato), has discovered the score to a long-lost opera “Rosa Dolorosa, Figlia di Pompeii” and has become committed to getting the work revived as a vehicle for her. “Rosa Dolorosa” has grand musical moments and a hilariously absurd plot.
The most recent instalment of the Wigmore Hall’s ambitious series, ‘Schubert: The Complete Songs’, was presented by soprano Lucy Crowe, pianist Malcolm Martineau and harpist Lucy Wakeford.
This new release of John Taverner’s virtuosic and florid Missa Corona spinea (produced by Gimell Records) comes two years after The Tallis Scholars’ critically esteemed recording of the composer’s Missa Gloria tibi Trinitas, which topped the UK Specialist Classical Album Chart for 6 weeks, and with which the ensemble celebrated their 40th anniversary. The recording also includes Taverner’s two settings of Dum transisset Sabbatum.
Gioachino Rossini’s La Cenerentola has returned to Lyric Opera of Chicago in a production new to this venue and one notable for several significant debuts along with roles taken by accomplished, familiar performers.
Back in 2000, Glyndebourne Touring Opera dragged Puccini’s sentimental tale of suffering bohemian artists into the ‘modern urban age’, when director David McVicar ditched the Parisian garrets and nineteenth-century frock coats in favour of a squalid bedsit in which Rodolfo and painter Marcello shared a line of cocaine under the grim glare of naked light bulbs and the clientele at Café Momus included a couple of gaudily attired transvestites.
Just as Orpheus embarks on a quest for his beloved Eurydice, so the Royal Opera House seems to be in pursuit of the mythical music-maker himself: this year the house has presented Monteverdi’s Orfeo at the Camden Roundhouse (with the Early Opera Company in January), Gluck’s Orphée et Eurydice on the main stage (September), and, in the Linbury Studio Theatre, both Birtwistle’s The Corridor (June) and the Paris-music-hall style Little Lightbulb Theatre/Battersea Arts Centre co-production, Orpheus (September).
Wexford Festival Opera has served up another thought-provoking and musically rewarding trio of opera rarities — neglected, forgotten or seldom performed — in 2015.
Another highlight of the Wigmore Hall complete Schubert Song series - Christoph Prégardien and Christoph Schnackertz. The core Wigmore Hall Lieder audience were out in force. These days, though, there are young people among the regulars : a sign that appreciation of Lieder excellence is most certainly alive and well at the Wigmore Hall. .
How did it go? Reactions of my neighbors varied. Some left at the intermission, others remarked that they thought the singing was good.
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.