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Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17. Perfection, as one would expect from arguably the finest Rameau interpreters in the business, and that's saying a lot, given the exceptionally high quality of French baroque performance in the last 40 years.
Twelve years after Opera Holland Park's first production of Francesco Cilea's Adriana Lecouvreur, the opera made a welcome return.
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. The world of commercial public opera had only just dawned with the opening of the Teatro San Cassiano in Venice in 1637 and for the first time opera became open to all who could afford a ticket, rather than beholden to the patronage of generous princes. Monteverdi took full advantage of the new stage and at the age of 73 brought all his experience of more than 30 years of opera-writing since his ground-breaking L’Orfeo (what a pity we have lost all those works) to the creation of two of his greatest pieces, Ulysses and then his final masterpiece, Poppea.
Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission. It is a sad state of affairs when a season that includes both Boulevard Solitude and Moses und Aron is considered exceptional, but it is - and is all the more so when one contrasts such seriousness of purpose with the endless revivals of La traviata which, Die Frau ohne Schatten notwithstanding, seem to occupy so much of the Royal Opera’s effort. That said, if the Royal Opera has not undertaken what would be only its second ever staging of Schoenberg’s masterpiece - the first and last was in 1965, long before most of us were born! - then at least it has engaged in a very welcome ‘WNO at the Royal Opera House’ relationship, in which we in London shall have the opportunity to see some of the fruits of the more adventurous company’s endeavours.
If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.
Composed during just a few weeks of the summer of 1926, Janáček’s Slavonic-text Glagolitic Mass was first performed in Brno in December 1927. During the rehearsals for the premiere - just 3 for the orchestra and one 3-hour rehearsal for the whole ensemble - the composer made many changes, and such alterations continued so that by the time of the only other performance during Janáček’s lifetime, in Prague in April 1928, many of the instrumental (especially brass) lines had been doubled, complex rhythmic patterns had been ‘ironed-out’ (the Kyrie was originally in 5/4 time), a passage for 3 off-stage clarinets had been cut along with music for 3 sets of pedal timpani, and choral passages were also excised.
With the conclusion of the ROH 2013-14 season on Saturday evening - John Copley’s 40-year old production of La Bohème bringing down the summer curtain - the sun pouring through the gleaming windows of the Floral Hall was a welcome invitation to enjoy a final treat. The Jette Parker Young Artists Summer Showcase offered singers whom we have admired in minor and supporting roles during the past year the opportunity to step into the spotlight.
Many words have already been spent - not all of them on musical matters - on Richard Jones’s Glyndebourne production of Der Rosenkavalier, which last night was transported to the Royal Albert Hall. This was the first time at the Proms that Richard Strauss’s most popular opera had been heard in its entirety and, despite losing two of its principals in transit from Sussex to SW1, this semi-staged performance offered little to fault and much to admire.
The BBC Proms 2014 season began with Sir Edward Elgars The Kingdom (1903-6). It was a good start to the season,which commemorates the start of the First World War. From that perspective Sir Andrew Davis's The Kingdom moved me deeply.
One is unlikely to come across a cast of Figaro principals much better than this today, and the virtues of this performance indeed proved to be primarily vocal.
Assured elegance, care and thoughtfulness characterised tenor James Gilchrist’s performance of Schubert’s Schwanengesang at the Wigmore Hall, the cycles’ two poets framing a compelling interpretation of Beethoven’s An die ferne Geliebte.
‘Music for a while shall all your cares beguile.’ Dryden’s words have never seemed as apt as at the conclusion of this wonderful sequence of improvisations on Purcell’s songs and arias, interspersed with instrumental chaconnes and toccatas, by L’Arpeggiata.
The acoustic of the gigantic Théâtre Antique Romain at Orange cannot but astonish its nine thousand spectators, the nearly one hundred meter breadth of the its proscenium inspires awe. There was excited anticipation for this performance of Verdi’s first masterpiece.
Richard Strauss may be most closely associated with the soprano voice but
this recording of a selection of the composer’s lieder by baritone Thomas
Hampson is a welcome reminder that the rapt lyricism of Strauss’s settings
can be rendered with equal beauty and character by the low male voice.
Opera Theatre of Saint Louis has once again staked claim to being the summer festival “of choice” in the US, not least of all for having mounted another superlative world premiere.
In past years the operas of the Aix Festival that took place in the Grand Théâtre de Provence began at 8 pm. The Magic Flute began at 7 pm, or would have had not the infamous intermittents (seasonal theatrical employees) demanded to speak to the audience.
High drama in Aix. Three scenarios in conflict — those of G.F. Handel, Richard Jones and the intermittents (disgruntled seasonal theatrical employees). Make that four — mother nature.
The programme declared that ‘music, water and night’ was the connecting thread running through this diverse collection of songs, performed by soprano Lucy Crowe and pianist Anna Tilbrook, but in fact there was little need to seek a unifying element for these eclectic works allowed Crowe to demonstrate her expressive range — and offered the audience the opportunity to hear some interesting rarities.
‘Only make the reader’s general vision of evil intense enough
and his own experience, his own imagination, his own sympathy
will supply him quite sufficiently with all the particulars.
It is not often that concept, mood, music and place coincide perfectly. On the first night of Opera della Luna’s La Fille du Regiment at Iford Opera in Wiltshire, England we arrived with doubts (rather large doubts it should be admitted)as to whether Donizetti’s “naive and vulgar” romp of militarism and proto-feminism, peopled with hordes of gun-toting soldiers and praying peasants, could hardly be contained, surely, inside Iford’s tiny cloister?
28 Sep 2012
Marriage of Figaro at the BBC Proms
Glyndebourne Festival Opera’s visit to the Proms has become a much anticipated annual event. This year on 28 August, they brought Michael Grandage’s new production of Mozart’s The Marriage of Figaro, with the Orchestra of the Age of Enlightenment conducted by Robin Ticciati, who takes over as musical director at Glyndebourne in 2014.
In Michael Grandage’s original production at Glyndebourne, there was a raised acting area behind the orchestra, with cast and chorus sitting in semi darkness behind this, whilst not performing. In theis BBC Proms performance (Prom 60), there was no set as such, just rudimentary door frames for entrances and exits.
There were no surprises about the version we heard, the traditional secondary arias were cut to ensure that the drama flowed. And flow it did. The dramatic and farcical elements move The opera was given in an abbreviated staging by Ian Rutherford based on efficiently and swiftly. Humorously too of course, though the boisterousness in act two got dangerously close to real farce. It was part of the way through act two that I thought, who are these people? And basically, the production didn’t really tell me.
Grandage and his designer Christopher Oram had move the action to the 1960’s. Oram’s costumes were all pitch-perfect with velvet suits, liberty print shirts, floaty dresses complete with awful period hairstyles. But this period does not necessarily give a secure dramatic basis for the piece, in fact by rather smudging the hierarchical relationships Grandage rather reduced the drama. In an era of free-love, the relationship of the Count (Audun Iversen) with Figaro (Vito Priante) and Susanna (Lydia Teuscher) was just too friendly. We need to believe that the count almost has the power of life and death over his servants. Without this, he is reduced to a hypocrite in a Whitehall farce.
Perhaps the situation could have been remedied by distinctive, strongly characterised individual performances. But Glyndebourne had assembled a young, enthusiastic cast who work well as an ensemble, conveying Grandage’s intentions, but failed to establish a personal stamp on the characters.
Audun Iversen as the count was personable and promising, but I defy anyone to be imperious when wearing a wig like that and a wine coloured velvet suit. Nor did he exude a particular sexual magnetism, which is surely a necessity. Iversen’s count seemed just too nice, there wasn’t the element of steel in the portrayal, the feeling that he has real power in his fief-dom and enjoys it.
Iversen was, I think, a little too matey with Vito Priante’s Figaro. Priante sang the role well enough but any hint at being revolutionary or subversive was rather nullified by the period. The Marriage of Figaro needs to be a dangerous piece, with real characters trapped in power relationships.
Sally Matthews as the countess was a Celia Birtwell sort of figure, elegant and slightly melancholy. She sang beautifully, "Dove Sono" was ravishing, but did not quite mine the vein of heartbreak at the aria’s heart. This was also noticeable at the end of the opera where the countess’s forgiveness of the count was lovely, but not yet heart-stopping.