Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Poliuto, Glyndebourne

Donizetti’s Poliuto at Glyndebourne could well become one of of the great Glyndebourne classics.

Carmen by ENO

Dystopic vision of Carmen, brought to life by vibrantly gripping performances

Pacific Opera Project Presents Ariadne auf Naxos

Pacific Opera Project, a small Los Angeles company, presented a production of Richard Strauss's Ariadne auf Naxos at the Ebell Club with an excellent group of young singers at the beginning of what should be good careers.

Varispeed pushes the possibilities of opera forward with Robert Ashley’s Crash

Six people, dressed in ordinary clothing, sitting in a row at desks adorned only with microphones and glasses of water, and talking for ninety minutes: is it opera?

Rising Stars in Concert, Lyric Opera of Chicago

The spring concert of Rising Stars in Concert, sponsored by and featuring current members of the Patrick G. and Shirley W. Ryan Opera Center at Lyric Opera of Chicago, showcased a number of talents that will no doubt continue to grace the stages of the world’s operatic theaters.

The Singers Sparkle in New York Opera Exchange’s Carmen

New York Opera Exchange’s production of Carmen from May 8th to 10th highlighted that which opera devotees have been saying for years: Opera, far from being dead, is vibrant and evolving.

‘Where’er You Walk’: Handel’s Favourite Tenor

I have sometimes lamented the preference of Ian Page’s Classical Opera for concert performances and recordings over staged productions, albeit that their renditions of eighteenth-century operas and vocal works are unfailingly stylish, illuminating and supported by worthy research.

The Pirates of Penzance, ENO

Topsy Turvy, Mike Leigh’s 1999 film starring Timothy Spall and Jim Broadbent, dramatized the fraught working relationship of William Gilbert and Arthur Sullivan; it won four Oscar nominations (garnering two Academy Awards, for costume and make-up) and is a wonderful exploration of the creative process of bringing a theatrical work to life.

Manitoba Opera: Turandot

There’s little doubt that Puccini’s Turandot is a flawed, illogical fairytale. Yet it continues to resonate today with its undying “love shall conquer all” ethos, where even the most heinous crimes may be forgiven by that which makes the world go ‘round.

Mariachi Opera El Pasado Nunca se Termina Comes to San Diego

On April 25, 2015, San Diego Opera presented it’s second Mariachi opera: El Pasado Nunca se Termina (The Past is Never Finished) by Jose “Pepe” Martinez, Leonard Foglia and Mariachi Vargas de Tecalitlán.

Antonio Pappano: Royal Opera House Orchestral Concerts

Ambition achieved! Antonio Pappano brought the Orchestra of the Royal Opera House out of the pit and onto the stage, the centre of attention in their own right.

Bedřich Smetana: Dalibor, Barbican Hall

Jiří Bělohlávek’s annual Czech opera series at the Barbican, London, with the BBC SO continued with Bedřich Smetana’s Dalibor.

Orlando Explores Art Without Boundaries

R.B. Schlather’s production of Handel’s Orlando asks the enigmatic question: Where do the boundaries of performance art begin, and where do they end?

The Virtues of Things

A good number of recent shorter operas, particularly those performed in this country, made a stronger impression with their libretti than their scores.

Król Roger, Royal Opera

It has taken almost 89 years for Karol Szymanowski’s Król Roger to reach the stage of Covent Garden.

San Diego Opera Celebrates 50 Years of Great Singing

San Diego Opera, the company that General Manager Ian Campbell had scheduled for demolition, proved that it is alive and singing as beautifully as ever. Its 2015 season was cut back slightly and management has become a bit leaner, but the company celebrated its fiftieth season in fine style with a concert that included many of the greatest arias ever written.

Hercules vs Vampires: Film Becomes Opera!

In the early sixties, Italian film director Mario Bava was making pictures with male body builders whose well oiled physiques appeared spectacular on the screen.

Green: Mélodies françaises sur des poèmes de Verlaine

Philippe Jaroussky lends poetry and poise to the sounds of nineteenth- and twentieth-century France

J. C. Bach: Adriano in Siria

At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme each season during the next 27 years to exploring the music by Mozart and his contemporaries which was being written and performed exactly 250 years previously.

Bethan Langford, Wigmore Hall

The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.

OPERA TODAY ARCHIVES »

Reviews

27 Jul 2012

Pierre Boulez : Le marteau sans maître BBC Proms

Pierre Boulez Le marteau sans maître is important as Stravinsky's Rite of Spring and Schoenberg's Pierrot Lunaire, says conductor François-Xavier Roth, who conducted it with members of the West-Eastern Divan Orchestra in BBC Prom 17.

Pierre Boulez : Le marteau sans maître

Members of the West-Eastern Divan Orchestra, Hilary Summers (alto), Guy Eshad (flute), Ori Kam (viola) Caroline Delume (guitar),Bishara Harouni (piano). Adrian Salloum (xylorimba), Pedro Manel Torrejón González (vibraphone), Noya Schleien (percussion), François-Xavier Roth (conductor).

27th July 2012, Royal Albert Hall, London.

 

Ironically, though Daniel Barenboim's Proms series features Beethoven, its greatest achievement long term may be bringing Boulez to mainstream audiences. Barenboim is a man of courage and principle. He's confronted social injustice, and now he's challenging musical prejudice.

Although the singer (Hilary Summers) sings in only four of the nine sequences of Boulez's Le marteau sans maître , it is a work infused with the concept of voice, a kind of meta-song. "Whereas Pierrot Lunaire is a theatre piece with instrumental accompaniment, the voice always prepondering," said Boulez in a description of the piece. "Le marteau sans maître stems from the cell of a poem which is eventually absorbed in toto". As a young man, Boulez was drawn to the poetry of René Char and wrote three major cycles based on his work. "Le marteau sans maître is thus crucial to any understanding of Boulez's output.

Char was a surrealist In his poetry, images are compressed, as if by homeopathic distillation. The poet's brief phrases don't reveal meaning in the usual sense, but force the reader to respond intuitiuvely. "Sudddenly", said Boulez, "You recognize yourself.... the illuminating paragraph seems simultaneously to take possession of you, and to increase your potential, your grasp and your power beyond anything you had dreamed possible".

In Le marteau sans maître, Char's words are crystalized still further so their very relationship with obvious meaning dissolves into the music itself, like a droplet spreading concentric cirles in a pool of water. Words are used for musical quality, such as alliteration. Boulez specifies that the singer is not a soloist. She sits with the ensemble, so the flow between players is uninterrupted. At the end, she intones abstract sound, almost the sound of body rhythms, and the flute (Guy Eshed) sings on her behalf, as had the viola (Ori Kam) before It's significant that Char was anti-fascist long before the German occupation. On a very deep level, Boulez is reiterating Char's beliefs in the value of the individual against the mass. He uses a strict, almost mathematical structure of three internal cycles within the nine pieces and other more subtle interrelationships. From this almost ritual formality, however, springs freedom of invention. Hence, the concept of hammer without a master.

Yet how that "hammer" is wielded ! Instead of blasts of massed brass and percussion, the "aural violence" of the orchestral palette, Boulez uses a small ensemble, where instruments are carefully balanced in terms of pitch and timbre. Lines are short, with lively traceries of individual notes rather than full tutti. Nor does he demand Lachenmann-esque distortions. These players aren't there to show off, but to co-operate. Boulez also emplys instruments that suggest, but don't copy, instruments from non-western cultures. The guitar (Caroline Delume), suggesting the Japanese koto, xylomarimba (Adrian Salloum) and vibraphone (Pedro Manuel Torrejon Gonzales) suggesting gamelan and the African balafon. They exist, not as exotics, because they can express the non-dogmatic nature of the piece and its sparkling fragments, merrily moving together. Even the percussion (Noya Schleien) employs no heavy timpani but a brushes, a gong, maracas, bongos. On this occasion I was struck by how Le marteau sans maître picks up on Messiaen's concepts. In a dawn chorus, many birds sing, but each is individual, and an astute listener can pick them out. In many ways Le marteau sans maître is also a precursor of Messiaen's Sept Haïkaï.

By choosing to showcase Le marteau sans maître in this Proms series, Barenboim is again making an extra-musical statement. This piece gives the musicians much more room to engage than the more complex Dérive 2 at the start of the series and it much more suited to their strengths. Performance is a journey not an end in itself, as a deep reading of this piece might suggest. François-Xavier Roth is a charismatic, slightly eccentric personality (in the best creative sense). He's sensitive to Boulez's idiom, and his rapport with the players was good. In Le marteau sans maître, everyone's a player if they're listening.

Anne Ozorio

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):