Gounod's Faust makes a much welcomed return to the Royal Opera House. With each new cast, the dynamic changes as the balance between singers shifts and brings out new insights. In that sense, every revival is an opportunity to revisit from new perspectives. This time Bryn Terfel sang Méphistophélès, with Joseph Calleja as Faust - stars whose allure certainly helped fill the hall to capacity. And the audience enjoyed a very good show.
As one descends the steel steps into the cavernous bunker of Ambika P3, one seems about to enter rather insalubrious realms — just right one might imagine, then, for an opera which delves into the depths of the seedier side of celebrity life.
Kaiserslautern’s Pfalztheater has produced a tantalizing realization of Gluck’s Iphigénie en Aulide, characterized by intriguing staging, appealing designs, and best of all, superlative musical standards.
Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.
On Wednesday, March 19, 2014, General Director Ian Campbell of San Diego Opera announced that the company would go out of business at the end of this season. The next day the company performed their long-planned Verdi Requiem with a stellar cast including soprano Krassimira Stoyanova, mezzo-soprano Stephanie Blythe, tenor Piotr Beczala, and bass Ferruccio Furlanetto.
On March 15, 2014, Los Angeles Opera presented Elkhanah Pulitzer’s production of the opera, which she set in 1885 when women were beginning to be recognized as persons separate from their fathers, brothers and husbands. At that time many European countries were beginning to allow women to own property, obtain higher education, and choose their husbands.
On March 11, 2014, San Diego Opera presented Verdi’s A Masked Ball in a traditional production by Leslie Koenig. Metropolitan Opera star tenor Piotr Beczala was Gustav III, the king of Sweden, and Krassimira Stoyanova gave an insightful portrayal of Amelia, his troubled but innocent love interest.
From the moment she walked, resplendent in red, onto the Wigmore Hall platform, Anne Schwanewilms radiated a captivating presence — one that kept the audience enthralled throughout this magnificent programme of Romantic song.
Magnificent! Following the first night of this new production of Die Frau ohne Schatten, I quipped that I could forgive an opera house anything for musical performance at this level, whether orchestral, vocal, or, in this case, both.
With Schoenberg, I tend to take every opportunity I can — at least since my first visit to the Salzburg Festival, when understandably I chose to see Figaro over Boulez conducting Moses und Aron, though I have rued the loss ever since.
MacMillan is a major Scottish composer who specializes in music with spiritual sensitivity. Since it was the day of Preparation sets the final section of St John’s Gospel from the removal of Jesus’ body from the cross to the end of John’s account, covering the period from Easter Eve until Pentecost. The work is for a small group of singers and a small group of musicians, together with male soloist, baritone is in the original scoring but here the role was ably sung by the low operatic bass, Brindley Sheratt.
Episodes of recitative for different vocal groupings, are interleaved with ‘interludes’ an extended cadenza for each instrument in turn and with other ‘interludes’ for the quintet as an ensemble (theorbo, cello, clarinet, horn and harp). These could in fact be used in excerpt and would stand on their own, either as short works showcasing each instrument, or collectively.
There are long passages for tenor (Andrew Busher) — who opens the entire work — and high baritone (Tom Bullard), not a bass, as described slightly confusingly in the programme, but very good, with a warm sweet tone. Both are very good, and the excellent acoustic meant every word was clearly audible, even at the back of the performance space. Against this are placed periodically Latin liturgical texts, mainly from the Renaissance. The musical, liturgical and dramatic climax of the whole work comes early in the second act, when a piercing peal of sound from the clarinet symbolises the discovery of the empty tomb.
The clarinet is an instrument for which MacMillan has written well, and here his writing for it is at its finest. This vocal section, ‘The Empty Tomb’ is followed by an Interlude for that same instrument, perhaps pre-eminent amongst these and very ably played by Yann Ghiro, whose contribution to this performance was one of its highlights. The clarinet also features prominently in the ensemble interlude between the first two acts, which separates the burial scene from the discovery of the empty tomb ; after quiet, dignified understated playing in the lower register by the other instruments, it enters to take the lead in a skirl-like dance which fades into a keening wail of mourning, being joined by the cello playing high in its register — a piece reminiscent of MacMillan's Tuireadh.
The difficulty of performing the role of Christ has been addressed before. MacMillan creates a feeling of distance and other worldliness by setting the soloists further back from the rest of the singers, and in this performance the use of the low bass voice added gravitas to the role. Brindley Sherratt’s singing created an absolutely spine-tingling effect, further enhanced by the continuous use of bells whilst Christ’s words were sung, recalling the effect of bells being used in the eucharistic prayers during a mass.
Another of James MacMillman’s religious works formed one of the programme items in Sunday’s recital from the festival series at St Michael’s Church. Kiss on Wood, for violin and cello, is also drawn from liturgy for Holy Week, this time an anthem for devotions on Good Friday. A small but powerful piece, it was ably and enjoyably performed there by Monika Geibel (violin) and Olja Buco (piano) — who also gave an excellent account of Elgar’s Violin Sonata in E minor, Op 82 (both works influenced by wood as a material, as well as for a wooden instrument).
The Edinburgh Festival will be presenting more of of MacMillan’s work next week in the shape of his Opera Clemency, one of a series of chamber operas commissioned by Scottish Opera and performed in turn on a nightly basis. Again a religious work, this time from the Old Testament rather than the New. I’ll be reporting further for Opera Today.
Since it was the day of Preparation will be performed again in London during the autumn season this year. Last night’s performers are also recording this work, to be released next Spring. The Hebrides Ensemble can be heard again on tonight’s Late Junction on BBC Radio 3, and at the Lammermuir Festival in east Lothian next month. Synergy Vocals will be returning to the Edinburgh Festival next year to perform Berio’s Sinfonietta with the BBC Symphony Orchestra. Brindley Sheratt will be appearing in a new production of Medea at the ENO.