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

Brave but flawed world premiere: Fortress Europe in Amsterdam

Calliope Tsoupaki’s latest opera, Fortress Europe, premiered as spring began taming the winter storms in the Mediterranean.

New Sussex Opera: A Village Romeo and Juliet

To celebrate its 40th anniversary New Sussex Opera has set itself the challenge of bringing together the six scenes - sometimes described as six discrete ‘tone poems’ - which form Delius’s A Village Romeo and Juliet into a coherent musico-dramatic narrative.

Cast announced for Bampton Classical Opera's 2017 production of Salieri's The School of Jealousy

Following highly successful UK premières of Salieri’s Falstaff (in 2003) and Trofonio’s Cave (2015), this summer Bampton Classical Opera will present the first UK performances since the late 18th century of arguably his most popular success: the bitter comedy of marital feuding, The School of Jealousy (La scuola de’ gelosi). The production will be designed and directed by Jeremy Gray and conducted by Anthony Kraus from Opera North. The English translation will be by Gilly French and Jeremy Gray. The cast includes Nathalie Chalkley (soprano), Thomas Herford (tenor) and five singers making their Bampton débuts:, Rhiannon Llewellyn (soprano), Kate Howden (mezzo-soprano), Alessandro Fisher (tenor), Matthew Sprange (baritone) and Samuel Pantcheff (baritone). Alessandro was the joint winner of the Kathleen Ferrier Competition 2016.

La voix humaine: Opera Holland Park at the Royal Albert Hall

Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.

London Handel Festival: Handel's Faramondo at the RCM

Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.

Brahms A German Requiem, Fabio Luisi, Barbican London

Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.

Káťa Kabanová in its Seattle début

The atmosphere was a bit electric on February 25 for the opening night of Leoš Janàček’s 1921 domestic tragedy, and not entirely in a good way.

Bampton Classical Opera Young Singers’ Competition 2017

Applications are now open for the Bampton Classical Opera Young Singers’ Competition 2017. This biennial competition was first launched in 2013 to celebrate the company’s 20th birthday, and is aimed at identifying the finest emerging young opera singers currently working in the UK.

Festival Mémoires in Lyon

Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).

Handel's Partenope: surrealism and sensuality at English National Opera

Handel’s Partenope (1730), written for his first season at the King’s Theatre, is a paradox: an anti-heroic opera seria. It recounts a fictional historic episode with a healthy dose of buffa humour as heroism is held up to ridicule. Musicologist Edward Dent suggested that there was something Shakespearean about Partenope - and with its complex (nonsensical?) inter-relationships, cross-dressing disguises and concluding double-wedding it certainly has a touch of Twelfth Night about it. But, while the ‘plot’ may seem inconsequential or superficial, Handel’s music, as ever, probes the profundities of human nature.

Christoph Prégardien and Julius Drake at the Wigmore Hall

The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.

La Tragédie de Carmen at San Diego

On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).

Kasper Holten's farewell production at the ROH: Die Meistersinger von Nürnberg

For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.

AZ Musicfest Presents Mendelssohn's Italian Symphony and Leoncavallo's Pagliacci

The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.

English Touring Opera Spring 2017: a lesson in Patience

A skewering of the preening pretentiousness of the Pre-Raphaelites and Aesthetes of the late-nineteenth century, Gilbert and Sullivan’s 1881 operetta Patience outlives the fashion that fashioned it, and makes mincemeat of mincing dandies and divas, of whatever period, who value style over substance, art over life.

Tara Erraught: mezzo and clarinet in partnership at the Wigmore Hall

Irish mezzo-soprano Tara Erraught demonstrated a relaxed, easy manner and obvious enjoyment of both the music itself and its communication to the audience during this varied Rosenblatt Series concert at the Wigmore Hall. Erraught and her musical partners for the evening - clarinettist Ulrich Pluta and pianist James Baillieu - were equally adept at capturing both the fresh lyricism of the exchanges between voice and clarinet in the concert arias of the first half of the programme and clinching precise dramatic moods and moments in the operatic arias that followed the interval.

Opera Across the Waves

This Sunday the Metropolitan Opera will feature as part of the BBC Radio 3 documentary, Opera Across the Waves, in which critic and academic Flora Willson explores how opera is engaging new audiences. The 45-minute programme explores the roots of global opera broadcasting and how in particular, New York’s Metropolitan Opera became one of the most iconic and powerful producers of opera.

Premiere: Riders of the Purple Sage

On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.

English Touring Opera Spring 2017: a disappointing Tosca

During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.

A Winter's Tale: a world premiere at English National Opera

The first production of Ryan Wigglesworth’s first opera, based upon Shakespeare’s The Winter’s Tale, is clearly a major event in English National Opera’s somewhat trimmed-down season. Wigglesworth, who serves also as conductor and librettist, professes to have been obsessed with the play for more than twenty years, and one can see why The Winter’s Tale, with its theatrical ‘set-pieces’ - the oracle scene, the tempest, the miracle of a moving statue - and its grandiose emotions, dominated as the play is by Leontes’ obsessively articulated, over-intellectualized jealousy, would invite operatic adaptation.

OPERA TODAY ARCHIVES »

Reviews

Hector Berlioz [Portrait by Gustave Courbet, 1850]
13 Aug 2012

Berlioz’s Requiem (Grande messe des morts) — BBC Prom 39

The massed forces of the 600+ singers and players assembled for this exciting performance of Berlioz’s gargantuan Requiem (Grande messe des morts) made for an impressive visual spectacle in the vast high Victorian Royal Albert Hall.

Hector Berlioz: Grande Messe des morts

Toby Spence: tenor, BBC National Orchestra of Wales, BBC National Chorus of Wales, Huddersfield Choral Society, London Symphony Chorus , Conductor: Thierry Fischer

Royal Albert Hall, London, 11th August 2012

Above: Hector Berlioz [Portrait by Gustave Courbet, 1850]

 

Who would not feel a frisson of anticipation when presented with an ocean of string players, as many as 8 bassoonists, 12 horn players, 4 additional brass ensembles, and a veritable football team of percussionists, seated before a choral multitude, all ready to join together in what is one of the most thrilling and dramatic of choral works?

The aural result was similarly imposing, with the magnificence and might of the ensemble complemented by the solemn sobriety and tender sweetness of individual lines.

Berlioz requested that his colossal forces be spatially separated, and one might think that the vast arena of the Albert Hall, with its many tiers and galleries, would be an ideal venue in which to perform and experience this work. However, Thierry Fischer’s decision to place the ‘off-stage’ brass ensembles together, behind the orchestra produced mixed results.

One the one hand, the sound was focused and intense: the impact of the monumental entry of the brass bands in ‘Dies Irae’ evoked the apocalyptic power of the natural world: a tremendous tidal wave of sound, perfectly fulfilling Berlioz’s ambitions, revealed in his Memoirs, that “this awesome musical cataclysm, so carefully prepared, where exceptional and tremendous means are used in proportions and combinations never attempted before or since, this picture of the Last Judgement, which [will], I hope, live on as a great landmark in our art”.

On the other hand, some of the antiphonal effects and the sense of dialogue between the groups was occasionally lost by this placement, as, for example, in the successive entries of the brass ensembles which follow their first collective fanfare, each a third higher than the previous one.

Perhaps Fischer was concerned with the practical problem of co-ordinating multiple ensembles scattered far and wide in a cavernous barn; indeed, Berlioz himself was aware that there was a danger of “an enormous and dreadful cacophony” without skilful conducting. [Berlioz subsequently reported that the work’s first conductor, Habeneck had, at the very moment of the problematic tempo change at the start of the ‘Tuba mirum’ “lowered his baton, quietly pulled out his snuff box and started to take a pinch of snuff. I was still looking in his direction. Immediately I pivoted on my heels, rushed in front of him, stretched out my arms and indicated the four main beats of the new tempo. The orchestras followed me, everything went off as planned, I continued to conduct to the end of the piece, and the effect I had dreamed of was achieved.”]

Whether the choral forces were an equal match for the brass eruption, probably depended upon where in the vast hall you were seated. Certainly there was some outstanding choral singing; and in any case, despite its Napoleonic scale and celebratory, even aggrandizing air, the Requiem is a work of both spectacle and subtlety. The thunderous passages may be the most well-known, even notorious, but they are short-lived, and much of the score is restrained, Berlioz’s fine ear for instrumental colour always in evidence - even the 10 pairs of cymbals are employed softly en masse.

Fischer did much to elucidate the timbral variety, in particular drawing out the distinct reedy blend of the woodwind groupings, so creating an effectively austere contrast to the more flamboyant theatrical moments of the score. Of particular note was the opening of the brief ‘Quid sum miser’, depicting after Judgement Day, where there was some superb cor anglais and bassoon playing, complemented by dark, brooding ’celli and double basses.

Similarly, in the furiously paced ‘Rex tremendae’ Fischer delineated the contrasts and juxtapositions, the choir both commanding, “Rex tremendae majestatis”, and imploring, “Salve me”.

After such intense passion, the soft men’s entry at the start of the a cappella ‘Quaerens me’ was striking. And, in the ‘Offertorium’ the choral restatements of “Domine Jesu Christe” interweaved stylishly with the orchestral motifs, the fragmented utterances establishing a mournful, plaintive mood.

Tenor Toby Spence, the lone soloist before these colossal forces, has clearly not fully recovered his voice, following the serious throat condition which he recently suffered. However, in the ‘Sanctus’ there were still signs of the sweet lyrical tenor for which he is justly renowned. And, although he could not always sustain a clean tone, becoming a little hoarse and unfocussed at times and relying on a quasi-falsetto for some of the higher range, this was a brave performance; indeed, together with the delicate high strings and flute, Spence’s slight vulnerability complemented the pathos of text which so often reflects upon the fragility of man in a desolate universe.

Although the tempo of the ‘Lacrimosa’ was a little fast for my liking - the melody can sound rather trite if rushed - overall Fischer judged the structure of the whole effectively, bringing out both the grandeur and intimacy of the work. The long-held woodwind and string chords in the ‘Agnus Dei’ brought calm and, as melodies from previous movements were reprised, a sense of peace, a movement from judgement to redemption.

As David Cairns explains in his programme essay, the Requiem belongs to the tradition of ceremonial, Revolutionary works which represented “the idea of the Nation, the entire people of France, assembled for a solemn act of prayer and thanksgiving”. Although the performers in the Albert Hall probably did not quite reach the decibel-level of the full-throated, 14-minute roar which accompanied Mo Farah’s run into the Olympic history books at the other end of London that night, they certainly conveyed Berlioz’s fervent vision of the astonishing power of both faith and humanity.

Claire Seymour

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):