Although the English National Opera has been decidedly sparing with its Wagner for quite some time now, its recent track record, leaving aside a disastrous Ring, has perhaps been better than that at Covent Garden.
In a production first seen in Houston several years ago, and now revised by its director John Caird, Puccini’s Tosca has returned to Lyric Opera of Chicago with two casts, partially different, scheduled into March of the present season.
English National Opera’s revival of Peter Konwitschny’s production of Verdi’s La Traviata had many elements in common with the
production’s original outing in 2013 (The production was a co-production with Opera Graz, where it had debuted in 2011).
I wonder whether we need a new way of thinking — and talking — about operatic ‘revivals’. Perhaps the term is more meaningful when it comes to works that have been dead and buried for years, before being rediscovered by subsequent generations.
Hopefully this brilliant new production of Iphigénie en Tauride from the Grand Théâtre de Genève will find its way to the new world now that Gluck’s masterpiece has been introduced to American audiences.
Arizona Opera presented Eugene Onegin during and 1999-2000 season
and again on February 1 of this year as part of the 2014-2015 season. In this
country Onegin is not a crowd pleaser like La Bohème or
Carmen, but its story is believable and its music melodic and
memorable. Just hum the beginning of the “Polonaise” and your friends will
know the music, if not where it comes from.
Florian Boesch and Roger Vignoles at the Wigmore Hall in Ernst Krenek’s Reisebuch aus den österreichischen Alpen. Matthias Goerne has called Hanns Eisler’s Hollywooder Liederbuch the Winterreise of the 20th century. Boesch and Vignoles showed how Krenek’s Reisebuch is a journey of discovery into identity at an era of extreme social change. It is a parable, indeed, of modern times.
On Tuesday January 27, 2015, San Diego Opera presented Giacomo Puccini's La Boheme. It is the opera with which the company opened in 1965 and a work that the company has faithfully performed every five years since then.
Last year we tracked Orfeo on his desperate search for his lost Euridice, through the labyrinths and studio spaces of Central St Martin’s; this year we were plunged into Macbeth’s tragic pursuit of power in the bare blackness of the CSM’s Platform Theatre.
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.