Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Christine Goerke - Strauss Elektra BBC Proms London

The second day of the Richard Strauss weekend at the BBC Proms saw Richard Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014 by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine Goerke in the title role. Felicity Palmer was Clytemnestra, Gun-Brit Barkmin was Chrysothemis, Robert Kunzli was Aegisthus and Johan Reuter was Orestes. The concert staging was by Justin Way.

Christine Goerke - Strauss Elektra BBC Proms London

The second day of the Richard Strauss weekend at the BBC Proms saw Richard Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014 by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine Goerke in the title role. Felicity Palmer was Clytemnestra, Gun-Brit Barkmin was Chrysothemis, Robert Kunzli was Aegisthus and Johan Reuter was Orestes. The concert staging was by Justin Way.

Powerful Mahler Symphony no 2 Harding, BBC Proms London

Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.

Nina Stemme's stunning Strauss Salome, BBC Proms London

The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings

Santa Fe Opera Presents Updated, at One Point Up-ended, Don Pasquale

On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!

Dolora Zajick Premieres Composition

At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.

Santa Fe Opera Presents Huang Ruo's Sun Yat-sen

By emphasizing the love between Sun Yat-sen and Soong Ching-ling, Ruo showed us the human side of this universally revered modern Chinese leader. Writer Lindsley Miyoshi has quoted the composer as saying that the opera is “about four kinds of love.” It speaks of affection between friends, between parents and children, between lovers, and between patriots and their country.

Britten War Requiem - Andris Nelsons, CBSO, BBC Prom 47

In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.

Santa Fe Opera Presents an Imaginative Carmen

Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.

Elgar Sea Pictures : Alice Coote, Mark Elder Prom 31

Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.

Berio Sinfonia, Shostakovich, BBC Proms

Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.

Four countertenors : Handel Rinaldo Glyndebourne

Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.

Santa Fe Opera Presents The Impresario and Le Rossignol

On August 7, 2014, the Santa Fe Opera presented a double bill of Wolfgang Amadeus Mozart’s The Impresario and Igor Stravinsky’s Le Rossignol (The Nightingale). The Impresario deals with the casting of an opera and Le Rossignol tells the well-known fairy tale about the plain gray bird with an exquisite song.

Barber in the Beehive State

Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.

Stravinsky : Oedipus Rex, BBC Proms

In typical Proms fashion, BBC Prom 28 saw Stravinsky's Oedipus Rex performed in an eclectic programme which started with Beethoven's Egmont Overture and also featured Electric Preludes by the contemporary Australian composer Brett Dean. Sakari Oramo,was making the first of his Proms appearances this year, conducting the BBC Symphony Orchestra, BBC Singers and BBC Symphony Chorus.

Santa Fe Opera Presents a Passionate Fidelio

Santa Fe Opera presented Beethoven’s Fidelio for the first time in 2014. Since the sides of the opera house are open, the audience watched the sun redden the low hanging clouds and set below the Sangre de Cristo mountains while Chief Conductor Harry Bicket led the Santa Fe Opera Orchestra in the rousing overture. At the same time, Alex Penda as the title character readied herself for the ordeal to come as she endeavored to rescue her unjustly imprisoned husband.

Rameau Grand Motets, BBC Proms

Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17.

Adriana Lecouvreur, Opera Holland Park

Twelve years after Opera Holland Park's first production of Francesco Cilea’s Adriana Lecouvreur, the opera made a welcome return.

Back to the Beginnings: Monteverdi’s Il ritorno d’Ulisse in patria at Iford Opera.

The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre.

Schoenberg : Moses und Aron, Welsh National Opera, London

Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission.

OPERA TODAY ARCHIVES »

Performances

Benjamin Britten
28 Sep 2012

Peter Grimes BBC Prom 55

The ghost of Peter Pears may no longer hover in the wings, but in an age when ‘defining’ interpretations by the likes of Jon Vickers and Philip Langridge still linger powerfully in collective audience memories, Stuart Skelton’s interpretation of Crabbe’s problematic fisherman is assuming a striking individuality and impact.

Benjamin Britten: Peter Grimes

A review by Claire Seymour

Above: Benjamin Britten

 

Somewhat paradoxically, in a Proms performance of the 2009 ENO production which could not be classed as either a concert performance or semi-staged, Skelton’s dramatically intelligent and musically affecting rendition crystallised Grimes’ essential ambiguity: the bitter, vicious anger which arises from Grimes’ frustration with his own failings and his community’s hypocritical lack of compassion, was as credible as his creative visions and lyric outpourings. When he gruffly clasped his shivering new apprentice boy (Jacob Mason-White), there was both concern and callousness in the impulsive gesture. Skelton’s Grimes is not brutal fisherman or visionary dreamer, rather a convincing amalgam of the self-doubts, ambitions, flaws and injustices of which all men are comprised.

With the ENO chorus seated behind the orchestra, there was little room at the front of the stage platform for any expansive physical movement or actions; however, Skelton’s unbridgeable separation from the Borough was evident from the first, alienation and hostility resonating from every ounce of his slouching bulk as he took his place in the dock to face the murder charged intoned gravely by Swallow (Mark Richardson, standing in at very short notice for the indisposed Matthew Best). The extremes of the limited stage area were well used. As he tied and re-tied his capstan rope while the Borough gossiped salaciously about Grimes’ brutal treatment of his apprentice boys, Skelton seemed to be compulsively and ceaselessly wringing his hands in outer defiance and inner despair at his alienation and impotence. And, recklessly setting off into the rough weather in pursuit of a profitable catch and ultimately Ellen Orford’s hand in marriage, Grimes’ descent beneath the stage seemed to indicate his existential loneliness and his final doomed fate.

And then there was the singing. Skelton employed the full panoply of shades and timbres to convey Grimes’ inherent contradictions and unpredictability. A slightly reticent tone in the Prologue, suggesting his annoyance and unwillingness to co-operate, blossomed at the end of the scene to reveal the sincerity of his love for Ellen and the fragility of his hopes for the future. Emotionally committed, holding nothing back, the occasional catch in Skelton’s voice exposed the burly fisherman’s essential vulnerability, and how close he was to breakdown; at other times, a rebellious, ringing bellow reminded the Borough of the defiance and danger he posed to their own hypocritical smugness and complacency.

But it was in the lyrical moments of self-revelation that Skelton’s Grimes really revealed the pain of his inner struggles. From the soaring aspirations of the Act 1 cry, “What harbour shelters peace?”, to the still beauty of Grimes’ mysterious appeal to the heavens in Act 2, “The Great Bear and Pleiades”, Skelton’s firm tone, now sweet and pure, then intimating the weight of his inner agony, ensured our sympathies lay with the outsider, whatever his suspected misdemeanours. The subtle rallentando and controlled legato line of the pianissimo scalic descent, “Who can turn skies back and begin again?”, was heartrending; and in the Act 3 ‘mad aria’, when haunted by echoes of the Borough’s accusations and his own regrets, Skelton managed to convey the disintegration of man whose psyche and future are fragmenting but also one who retains an inner core of self-reliance and insolence.

Although initially a little strident, Amanda Roocroft credibly portrayed Ellen Orford’s strong resistance to the Borough’s hypocrisy and oppressive mores, and a genuine feeling for her unlikely soul mate. An overly wide vibrato caused some initial problems (Skelton had to work hard to overcome these in the unaccompanied duet which closes the Prologue), but Roocroft relaxed into the role and summoned a warm tone and flexible lyricism, most notably at the opening of Act 2 when she first tries to reassure the young apprentice of Grimes’ essential goodness, and then pleads with Peter to cease from work and remember their dreams. Roocroft’s characterisation grew in strength as her voice became more focused, and by the end her rich sonority was a powerful indictment of the Borough’s insincerity.

Iain Paterson’s Balstrode was authoritative and compassionate, his diction superb, his melodic phrasing thoughtful and, like Skelton, Paterson economically clarified Balstrode’s ambiguous role in Grimes’ experience and fate: his resonant command - “We live and let live, and look-/ We keep our hands to ourselves” - immediately quelled the Borough’s scandal-mongering but their insistent repetitions of his reminder grew ever more menacing, laden with insinuations.

The minor portraits were deftly drawn, not without humour but generally avoiding caricature. As Mrs Sedley, Dame Felicity Palmer enunciated every word crisply and with self-justifying emphasis, just as one imagines this self-righteous laudanum addict would pontificate. But, Palmer injected another dimension, conveying Mrs Sedley’s essential isolation from the Borough whose moral position she assumes she articulates. Seated in the chorus, alone at the end of a role, during the Sunday Morning scene, she struck a rather pitiful figure. Stuart Kale’s Reverend made a strong impact, especially in this Sunday church scene: positioned in the middle of the chorus, he led the community in their devotions, their backs turned on the more genuine, human interaction between Ellen and Peter on the beach below, the disjuncture between stale, insensate convention and the difficult, painful but ultimately life-giving interactions of humanity laid bare.

Michael Colvin was a lively, rakish Bob Boles, while Leigh Melrose’s Ned Keene was fittingly dark and sinister. In the 2009 ENO production, Auntie and her two Nieces were, like many of the Borough, depicted as grotesques, but - excepting the dubious retention of the straggly rag dolls which the mature Niece’s incessantly trailed behind them, seeming joined at the hip - there were fewer exaggerations here. Rebecca de Pont Davies’ Auntie was a woman clearly in control of her customers and her own destiny; and, in their Act 3 duet, Gillian Ramm and Mairéad Buicke sang with warmth and character.

Edward Gardner’s mastery of Britten’s orchestral and operatic language is undisputed, but even by his own lofty standards Gardner excelled. Confidently adopting a slow, spacious tempo in the first orchestra Interlude, he conjured both the stillness of the dawn and the massive apocalyptic forces latent beneath the shimmering surface, as surge after surge swelled to break the translucent glistenings of the high strings; the transition into the chorus which opens Act 1 was seamless, powerfully revealing the unbreakable bond between the sea and the community who depend upon the volatile waters for the lives and livelihoods. The Storm interlude was frighteningly ferocious, every nuance of orchestral colour summoned to evoke the elemental forces. In the Passacaglia, the texture thinned to allow the plaintive searchings of Amélie Roussel’s viola solo to sing soulfully of the apprentice’s melancholy and loneliness.

The ENO chorus were a little ragged and hesitant at first, their raised fists during the trial scene rather convincing and stilted. But, the ensemble settled and, despite a slight imbalance between men’s and women’s voices, they represented a fearsome and intransigent force for Grimes to defeat. At times involved in the action, as in the church scene mentioned above, elsewhere adopting a more distanced role as moral commentator, they were a telling reminder to us all of our own implication in the fates of individuals whom we judge and condemn.

From the first flick of his baton to summon the self-righteous mutterings of the bassoon, to the final shadowy whispers of the held strings and trombones, Gardner did not once allow the dramatic and emotional tension to slip. As the inevitable conclusion was reached, Skelton, commanded by a resolved Balstrode to scuttle his boat and escape the accusations which he could never answer, slipped reluctantly but resignedly away through the standing Promenaders. The full audience in the Albert Hall held its breath; and there was little emotional respite as the daily life of the Borough resumed, Grimes erased from their memories and their consciences by the majestic sea, which “rolls in ebb yet terrible and deep”.

Claire Seymour

Click here for cast and production information.

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):