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

Bartoli a dream Cenerentola in Amsterdam

With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.

Winterreise : a parallel journey

Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.

Anna Bolena in Lisbon

Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.

Oh, What a Night in San Jose

It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.

Billy Budd in Madrid

Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.

A riveting Nixon in China at the Concertgebouw

American composer John Adams turns 70 this year. By way of celebration no less than seven concerts in this season’s NTR ZaterdagMatinee series feature works by Adams, including this concert version of his first opera, Nixon in China.

English song: shadows and reflections

Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.

A charming Pirates of Penzance revival at ENO

'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.

A Relevant Madama Butterfly

On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.

Johan Reuter sings Brahms with Wiener Philharmoniker

In the last of my three day adventure, I headed to Vienna for the Wiener Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.

Gatti and the Royal Concertgebouw Orchestra Head to Asia

In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the Royal Concertgebouw, Daniele Gatti, came together for their first engagement in a ravishing performance of Berg’s Violin Concerto.

Verdi’s Requiem with the Berliner Philharmoniker

I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and Wiener Philharmoniker, to hear these three top orchestra perform their series programmes opening the New Year.

Jeanne d'Arc au bûcher in Lyon

There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.

A New Look at Mozart’s Abduction from the Seraglio

On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.

Giasone in Geneva

Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.

Falstaff in Genoa

A Falstaff that raised-the-bar ever higher, this was a posthumous resurrection of Luca Ronconi’s masterful staging of Verdi’s last opera, the third from last of the 83 operas Ronconi staged during his lifetime (1933-2015). And his third staging of Falstaff following Salzburg in 1993 and Florence in 2006.

Traviata in Seattle

One of Aidan Lang’s first initiatives as artistic director of Seattle Opera was to encourage his board to formulate a “mission statement” for the fifty-year old company. The document produced was clear, simple, and anodyne. Seattle Opera would aim above all to create work appealing both to the emotions and reason of the audience.

Wagner at the Deutsche Oper Berlin Part II: Kasper Holten’s angelic Lohengrin

Contrary to Stolzi’s multidimensional Parsifal, Holten’s simple setting of Lohengrin felt timeless with its focus on the drama between characters. Premiering in 2012, nothing too flashy and with a clever twist,

Wagner at the Deutsche Oper Berlin Part I: Stölzl’s Psychedelic Parsifal

Deutsche Oper Berlin (DOB) consistently serves up superlatively sung Wagner productions. This Fall, its productions of Philipp Stölzl's Parsifal and Kasper Holten's Lohengrin offered intoxicating musical affairs. Annette Dasch, Klaus Florian Vogt, and Peter Seiffert reached for the stars. Even when it comes down to last minute replacements, the casting is topnotch.

Donna abbandonata: Temple Song Series

Donna abbandonata would have been a good title for the first concert of Temple Music’s 2017 Song Series. Indeed, mezzo-soprano Christine Rice seems to be making a habit of playing abandoned women.

OPERA TODAY ARCHIVES »

Reviews

03 Aug 2012

Bach Mass in B minor, BBC Prom 26

Bach probably never intended the full Mass in B Minor to be performed, so it is tricky to talk about what forces he meant it to be performed by. But the Kyrie and Gloria certainly were sent by Bach to the Royal Court at Dresden (which was Roman Catholic), and these movements could be used in the Lutheran Church as well.

J S Bach : Mass in B minor

Joélle Harvey: soprano, Carolyn Sampson : soprano, Iestyn Davies : counter-tenor, Ed Lyon : tenor, Matthew Rose : bass, Choir of the English Concert, The English Concert, Harry Bicket : conductor

2nd August 2012, Royal Albert Hall, London

 

So we are entitled to start postulating about what Bach intended. But performing the work in the Royal Albert Hall is entirely different again, a space far bigger than Bach could ever have conceived of being used for his work. So that whilst I was listening to the performance of Bach’s Mass in B Minor on Thursday 2 August at the BBC Proms, given by the English Concert conducted by Harry Bicket, inevitably I was thinking not only about the quality of performance, but about the decisions taken to realise the work in the space and how successful they were as well.

Now, I have to admit up front that I am a one-to-a-part man. There is good evidence for this, it was very much standard Lutheran practice (see Andrew Parrott’s book The Essential Bach Choir). Whilst Bach might have sent the work to Dresden, he was a Lutheran through and through. So though he would presumably have welcomed hearing the piece in Dresden performed by soli, choir and orchestra (in our modern manner), it would not have surprised him to hear with it with just five or six singers. To fill the Royal Albert Hall though, you need to boost your forces somewhat.

Bicket used an orchestra of 50 players, including four flutes, two oboes and two bassoons, with continuo provided by a chamber organ sitting on the platform. Perhaps as a gesture to balance, his wind and brass players (bassoons apart) stood up to play. His choir had over forty singers in it with female sopranos and a mixture of male and female altos. The soloists were sopranos Joelle Harvey and Carolyn Sampson, counter-tenor Iestyn Davies, tenor Ed Lyon and bass Matthew Rose.

For me, one of the tests of a good Mass in B Minor, irrespective of the forces used, is to listen to the first vocal/choral entries in the first fugal Kyrie. Everyone can get the massive opening chords right. But for the fugue that follows, which is started by the instruments and then continued by the voices, it is essential that voices and instruments are balanced in the right way. The instruments are not accompanying the voices, all parts are equal, so that when the voice parts enter it should be as part of the whole texture, not creating an entirely new one with the instruments relegated to the distant background.

This Bicket got right. His choir sang very smoothly, with a good line and though a little dominant were balanced nicely with the instrumental forces. More worryingly the performance lacked bounce and immediacy, Bicket kept the whole of the first Kyrie very much under wraps; small gestures from him being echoed by small vocal and instrumental gestures; nothing too big, but nothing too vivid; all a little bit too discreet and polite.

For the Christe, sopranos Carolyn Sampson and Joelle Harvey blended beautifully and sang with a fine sense of line, supported by a strong bass line. But with the second Kyrie I began to notice a problem. During the louder tutti passages it just wasn’t possible to hear the wind instruments properly, the volume and mass of the strings and voices was simply too much. Instead the wind texture would become apparent at moments when the strings and voices thinned. Now Bach’s orchestration isn’t generally about colour, it is about lines. In 19th century orchestration, if you can’t quite hear a particular instrument it is not essential because the single instrument is contributing colour to a full chord. But in Bach each instrument, or group of instruments, has a line, an important line. So from my seat in the central stalls, it sounded as if Bicket should have doubled his oboes and bassoons to keep the proportions right. This was something that I kept noticing throughout the performance, one of those nagging things which isn’t fatal, but which you wonder why it didn’t bother someone earlier.

Still on the subject of balance, I have to say a brief word about the organ. It probably did a sterling job supporting the singers but the instrument was simply too small and too discreet for the venue. Bach used his church organs for continuo, and whilst these instruments were far smaller and far different from the monster organ in the Royal Albert Hall, they did have a degree of poke and character which the chamber instrument lacked. (Paul McCreesh has made some interesting Bach recordings using small scale forces and with organs of the type Bach would have known).

What of the performance itself, niggles apart? Well, musically it was of a very high order. The choir of the English Concert were in fine voice and ranged from the fast brilliance of the "Cum Sancto Spirito" of the Gloria to the stunning vocal control of the "Et Incarnatus" and "Crucifixus" from the Credo. Whilst they could conjure up vocal substance in the large scale passages, they moved like a far smaller body in the fast moving ones.

Joelle Harvey and Carolyn Sampson were both elegantly fluent as the soprano soloists. Iestyn Davies brought clarity and a fabulous sense of line to his solos, projecting the vocal line with ease without ever forcing. He finished with a performance of exquisite beauty in the Agnus Dei. Ed Lyon was a relaxed and beautifully lyric tenor, with a good freedom in the upper register but still plenty of character. Matthew Rose was impressive in his first aria but appeared to be having problems in his second.

The orchestra were on similar stunning form, providing a series of superb instrumental obbligatos as well as sympathetic and characterful tutti playing. They didn’t peck at the notes as some period bands do, giving the music a far greater sense of line and shape.

This was a performance full of good moments. But, in the final choral Dona Nobis pacem, Bicket ensured that the chorus returned to the same understated manner as the opening Kyrie and that made me realise that there was something that I had been missing. For me, there wasn’t a strong sense of the spiritual. The performances were highly musical, intelligent realisations of the individual movements, but the whole did not coalesce into the sort of spiritual journey which Bach intended. Friends sitting behind me thought otherwise and found the performance both beautiful and moving, so each takes different things from such an event.

Performing Bach’s Mass in B Minor in the Royal Albert Hall is inevitably going to mean that decisions have to be taken. But whilst I question some aspects of the performance from Bicket and the English Concert, there is no doubt that we witness music making of a very high order.

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):