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

TOSCA: A Dramatic Sing-Fest

On November 12, 2017, Arizona Opera presented Giacomo Puccini’s verismo opera, Tosca, in a dramatic production directed by Tara Faircloth. Her production utilized realistic scenery from Seattle Opera and detailed costumes from the New York City Opera. Gregory Allen Hirsch’s lighting made the set look like the church of St. Andrea as some of us may have remembered it from time gone by.

The Lighthouse: Shadwell Opera at Hackney Showroom

‘Only make the reader’s general vision of evil intense enough … and his own experience, his own imagination, his own sympathy … and horror … will supply him quite sufficiently with all the particulars. Make him think the evil, make him think it for himself, and you are released from weak specifications.’

Elisabeth Kulman sings Mahler's Rückert-Lieder with Sir Mark Elder and the Britten Sinfonia

Austrian singer Elisabeth Kulman has had an interesting career trajectory. She began her singing life as a soprano but later shifted to mezzo-soprano/contralto territory. Esteemed on the operatic stage, she relinquished the theatre for the concert platform in 2015, following an accident while rehearsing Tristan.

Tremendous revival of Katie Mitchell's Lucia at the ROH

The morning sickness, miscarriage and maundering wraiths are still present, but Katie Mitchell’s Lucia di Lammermoor, receiving its first revival at the ROH, seems less ‘hysterical’ this time round - and all the more harrowing for it.

Manon in San Francisco

Nothing but a wall and a floor (and an enormous battery of unseen lighting instruments) and two perfectly matched artists, the Manon of soprano Ellie Dehn and the des Grieux of tenor Michael Fabiano, the centerpiece of Paris’ operatic Belle Époque found vibrant presence on the War Memorial stage.

Garsington Opera’s Silver Birch on BBC Arts Digital

Audiences will have the chance to feel part of a new opera inspired by Siegfried Sassoon’s poems with an innovative 360-degree simulated experience of Garsington Opera’s Silver Birch on BBC Arts Digital from midday, Wednesday 8th November.

Mozart’s Requiem: Pierre-Henri Dutron Edition

The stories surrounding Mozart’s Requiem are well-known. Dominated by the work in the final days of his life, Mozart claimed that he composed the Requiem for himself (Landon, 153), rather than for the wealthy Count Walsegg’s wife, the man who had commissioned it in July 1791.

A beguiling Il barbiere di Siviglia from GTO

I had mixed feelings about Annabel Arden’s production of Il barbiere di Siviglia when it was first seen at Glyndebourne in 2016. Now reprised (revival director, Sinéad O’Neill) for the autumn 2017 tour, the designs remain a vibrant mosaic of rich hues and Moorish motifs, the supernumeraries - commedia stereotypes cum comic interlopers - infiltrate and interact even more piquantly, and the harpsichords are still flying in, unfathomably, from all angles. But, the drama is a little less hyperactive, the characterisation less larger-than-life. And, this Saturday evening performance went down a treat with the Canterbury crowd on the final night of GTO’s brief residency at the Marlowe Theatre.

Brett Dean's Hamlet: GTO in Canterbury

‘There is no such thing as Hamlet,’ says Matthew Jocelyn in an interview printed in the 2017 Glyndebourne programme book. The librettist of Australian composer Brett Dean’s opera based on the Bard’s most oft-performed tragedy, which was premiered to acclaim in June this year, was noting the variants between the extant sources for the play - the First, or ‘Bad’, Quarto of 1603, which contains just over half of the text of the Second Quarto which published the following year, and the First Folio of 1623 - no one of which can reliably be guaranteed superiority over the other.

Schumann and Mahler Lieder : Florian Boesch

Schumann and Mahler Lieder with Florian Boesch and Malcolm Martineau, now out from Linn Records, following their recent Schubert Winterreise on Hyperion. From Boesch and Martineau, excellence is the norm. But their Mahler Lieder eines fahrenden Gesellen takes excellence to even greater levels

WNO's Russian Revolution series: the grim repetitions of the house of the dead

‘We lived in a heap together in one barrack. The flooring was rotten and an inch deep in filth, so that we slipped and fell. When wood was put into the stove no heat came out, only a terrible smell that lasted through the winter.’ So wrote Dostoevsky, in a letter to his brother, about his experiences in the Siberian prison camp at Omsk where he was incarcerated between 1850-54, because of his association with a group of political dissidents who had tried to assassinate the Tsar. Dostoevsky’s ‘house of the dead’ is harrowingly reproduced by Maria Björsen’s set - a dark, Dantesque pit from which there is no possibility of escape - for David Pountney’s 1982 production of Janáček’s final opera, here revived as part of Welsh National Opera’s Russian Revolution series.

The 2017 Glyndebourne Tour arrives in Canterbury with a satisfying Così fan tutte

A Così fan tutte set in the 18th century, in Naples, beside the sea: what, no meddling with Mozart? Whatever next! First seen in 2006, and now on its final run before ‘retirement’, Nicholas Hytner’s straightforward account (revived by Bruno Ravella) of Mozart’s part-playful, part-piquant tale of amorous entanglements was a refreshing opener at the Marlowe Theatre in Canterbury where Glyndebourne Festival Opera arrived this week for the first sojourn of the 2017 tour.

Richard Jones's Rodelinda returns to ENO

Shameless grabs for power; vicious, self-destructive dynastic in-fighting; a self-righteous and unwavering sense of entitlement; bruised egos and integrity jettisoned. One might be forgiven for thinking that it was the current Tory government that was being described. However, we are not in twenty-first-century Westminster, but rather in seventh-century Lombardy, the setting for Handel’s 1725 opera, Rodelinda, Richard Jones’s 2014 production of which is currently being revived at English National Opera.

Amusing Old Movie Becomes Engrossing New Opera

Director Mario Bava’s motion picture, Hercules in the Haunted World, was released in Italy in November 1961, and in the United States in April 1964. In 2010 composer Patrick Morganelli wrote a chamber opera entitled Hercules vs. Vampires for Opera Theater Oregon.

Rigoletto at Lyric Opera of Chicago

If a credible portrayal of the title character in Giuseppe Verdi’s Rigoletto is vital to any performance, the success of Lyric Opera of Chicago’s current, exciting production hinges very much on the memorable court jester and father sung by baritone Quinn Kelsey.

Wexford Festival Opera 2017

‘What’s the delay? A little wind and rain are nothing to worry about!’ The villagers’ indifference to the inclement weather which occurs mid-way through Jacopo Foroni’s opera Margherita - as the townsfolk set off in pursuit of two mystery assailants seen attacking a man in the forest - acquired an unintentionally ironic slant in Wexford Opera House on the opening night of Michael Sturm’s production, raising a wry chuckle from the audience.

The Genius of Purcell: Carolyn Sampson and The King's Consort at the Wigmore Hall

This celebration of The Genius of Purcell by Carolyn Sampson and The King’s Consort at the Wigmore Hall was music-making of the most absorbing and invigorating kind: unmannered, direct and refreshing.

Hans Werner Henze : Kammermusik 1958

"....In lieblicher Bläue". Landmark new recordings of Hans Werner Henze Neue Volkslieder und Hirtengesänge and Kammermusik 1958 from the Scharoun Ensemble Berlin, with Andrew Staples, Markus Weidmann, Jürgen Ruck and Daniel Harding.

Written on Skin: the Melos Sinfonia take George Benjamin's opera to St Petersburg

As I approach St Cyprian’s Church in Marylebone, musical sounds which are at once strange and sensuous surf the air. Inside I find seventy or so instrumentalists and singers nestled somewhat crowdedly between the pillars of the nave, rehearsing George Benjamin’s much praised 2012 opera, Written on Skin.

Classical Opera/The Mozartists celebrate 20 years of music-making

Classical Opera celebrated 20 years of music-making and story-telling with a characteristically ambitious and eclectic sequence of musical works at the Barbican Hall. Themes of creation and renewal were to the fore, and after a first half comprising a variety of vocal works and short poems, ‘Classical Opera’ were succeeded by their complementary alter ego, ‘The Mozartists’, in the second part of the concert for a rousing performance of Beethoven’s Choral Symphony - a work described by Page as ‘in many ways the most iconic work in the repertoire’.

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):