27 Oct 2012
Amsterdam’s Skin Show
Netherlands Opera is surely to be numbered among the world’s most adventurous international companies.
A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure, this new production presents the plot as the dying protagonist’s feverish hallucinations. The result is a frosty retelling of what is arguably Puccini’s most hot-blooded opera. Musically, the performance also left much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang bergetar akan terhapus.” (“The transient cannot hold on to stars lost in the Milky Way; that which quivers will be erased.”) As soprano Tony Arnold sang these words of Tony Prabowo’s chamber opera Pastoral, with astonishingly crisp Indonesian diction, the first night of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
Manitoba Underground Opera took audiences on a journey — literally and figuratively — as it presented its latest installment of repertory opera between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
Netherlands Opera is surely to be numbered among the world’s most adventurous international companies.
This was amply evidenced by the striking new production of Written on Skin, from composer George Benjamin and librettist Martin Crimp. There is nothing “easy” about this enigmatic work, and yet it is richly rewarding for those who are willing to revel in its intriguing complexities.
The piece is based on a 12th century Occitan legend (oh that again!) but is framed by 21st-century “spiritual” sensibilities as it considers the dynamics of co-dependent personal relationships, life-changing decisions, and mind-altering entanglements. The slender plot concerns a ruthless, rich lord who brutally controls his childishly obedient young wife Agnes. The brute commissions an artist (The Boy) who he welcomes into his house to complete a book of “illuminations” (text and illustrations on parchment = skin). The despot wishes to have his political prowess and domestic “bliss” immortalized in flattering terms.
Instead, the creation of the book incites his wife’s rebellion, which manifests itself in her seduction of the artist. The wife then exploits her intimacy with the visitor and coerces his alteration of the book’s content to expose her husband with truthful revelations of his despicable character and deplorable misdeeds. When the artist candidly (foolishly) documents his passionate affair with the wife, the cuckold stabs him, cuts out his heart and serves it to his unsuspecting wife for dinner. When she is informed of what she is ingesting, she defiantly keeps eating and praising its flavorful taste.
As the husband makes to stab his wife, she runs up the tower and hurls herself off of it, remaining suspended in mid-drop, hovering in one final “illustration” that leaves her between heaven and earth. This slowly unfolding, nay churning of the emotional sub-text makes Pelléas seem a model of cogent expeditiousness. Factor in a trio of 21st century “angels” who periodically offer such contemporary commentary as “erase the Saturday car-park from the market place,” and you have a richly enigmatic, Pinter-esque concoction. And perhaps its vague juxtaposition of images is its greatest asset since it not only commands our rapt attention, but encourages us to speculate. I was riveted by the performance from first to last.
This was owing in no small part to Mr. Benjamin’s hauntingly beautiful score, with its layers of orchestral colors and unusually grateful vocal writing. The composer also presided on the podium, eliciting thrilling results from the Netherlands Chamber Orchestra. The group met every challenge of this opaque work’s masterful orchestrations. Although there are many influences evident in the musical results (Britten, Messiaen, Berg, among others), Benjamin has found his own style, and his own palette of effects, one that includes vocal lines meant to please the ear, and not just the intellect, as in many another contemporary opera.
Christopher Purves as The Protector, Bejun Mehta as Boy and Elin Rombo as Agnès
The singers were uniformly first-rate, starting with Christopher Purves who scored a tour-de-force with his nuanced impersonation of the Protector. Mr. Purves is possessed of a powerful, incisive bass-baritone that was supremely well-controlled. Even when his character was called upon to snarl or bark musical statements, Mr. Purves kept his instrument focused and refined. He was also capable of meaningful introspective musings, and colored his voice with menace for bone-chilling, sinister insinuations.
Bejun Mehta proves yet again why he is numbered among the top echelon of current day counter-tenors. From his first long sustained note that slowly built in volume, he regaled us with beautifully modulated singing that had all the richness of a resonant viola. Mr. Mehta not only has uncommonly fine diction, but also has an unusually wide range of colors in his warmly ingratiating instrument. Bejun found a perfectly judged obscurity as the Boy, with his physical abandon Flower-Child-like in its naiveté. After his demise, the Boy returns as an Angel, an apt metaphor since Mehta sang like an angel all night long.
Lovely Elin Rombo scored all the right dramatic beats as the dominated wife. Her reliable, gleaming soprano was used with great skill and absolute service to the writing, and Ms. Rombo was equally effective whether whispering hushed exchanges, wringing out every bit of pathos from arching flights above the staff, or forcefully propositioning her pliable house guest. Her cool, even vocal delivery after she learns what (or rather whom) she is ‘eating’ was a model of control.
Victoria Simmonds was a firm-voiced Marie (Agnes’s sister) and she made a substantial contribution to the ensemble as Angel 2. Allan Clayton was quite fine as Marie’s husband John, and his suave tenor made a memorable impression as Angel 3. Although not credited, the concentrated work of several added supers was important to the milieu of the concept.
And the production’s “concept” provided quite a massive, spectacular architectural setting that was at once solidly realistic, and nebulously spiritual. The brilliance of the visual realization was that it managed to suggest a green room, wings, a fly loft and stage performance space while at the same time suggesting limbo, heaven, and most certainly, hell. A sturdy two story structure, the ground floor left contained a period drawing room out of some austere Dutch Masters painting flanked far left by a moody grove of trees. Through the room’s stage right door was a brilliantly white “green” room, or waiting room, or dressing room, or well your take is as good as mine.
Bejun Mehta as Angel 1, Victoria Simmonds as Angel 2 and Allan Clayton as Angel 3
Upstairs, the trees have burrowed upward through the left floor, a dated ante room center has a window that opens on the great outdoors, and a white ‘office’ on right suggests a corporate nerve center as easily as it implies ‘heaven.’ The married pair are clad in time neutral interpretations of medieval garb while the Angels trade off contemporary business wear for their period attire as required. Vicki Mortimer’s thought-provoking set and wholly appropriate costumes were masterfully lit by Jon Clark, whose brooding color choices were integrated into a lighting design which perfectly balanced tight specialty spots, moody washes, looming shadows, and pointed brilliance.
Best of all, director Katie Mitchell was able to knit together the many (deliberately) disparate dramatic conventions into a convincing, unified whole. Mr. Crimp’s libretto is an especial challenge since characters often speak of themselves in the third person, and recite stage directions even as they perform them. It is to Ms. Mitchell’s great credit that far from distancing us from the soul of the tale, her stagecraft intrigues us, envelopes us, consumes us.
When characters are emotionally spent at the end of selected scenes, they shrink or collapse into the waiting arms of the omnipresent stage hands/angels/supers, to be comforted even as they are moved around like another stage property to be re-set in its proper place. I cannot remember the last time I have been so engaged by such overt theatricality from both writers and producers. Katie has also managed to draw incisive, highly charged character relationships from her cast, and the whole is meticulously paced, blocked, and coached.
I shall not soon forget the coup de theatre at opera’s end as the misused wife flees her murderous spouse up a white staircase extending into the loft, running to leap to her death, pursued by the rest of the cast, all in excruciatingly. Slow. Motion. Ironically, this is one of the few instances where the production fails the script since it calls for her to leap but be suspended mid-air, but then who has ever seen Brűnnhilde ride Grane onto the pyre? (So there.) Never you mind, it is spell-binding nonetheless.
Written on Skin was that all-too-rare treat, a compelling new piece of writing that spoke with its own affecting voice, performed by a peerless cast and band, matched by an enthralling stage production that served to make for a potent evening of musical drama. Here’s wishing it many more successful first nights and an enduring presence in the repertoire.
The Protector: Christopher Purves; Agnes: Elin Rombo; Angel 1/Boy: Bejun Mehta; Angel 2/Marie: Victoria Simmonds; Angel 3/John: Allan Clayton; Composer: George Benjamin; Libretto: Martin Crimp; Conductor: George Benjamin; Director: Katie Mitchell; Set and Costume Design Vicki Mortimer; Lighting Design: Jon Clark; Netherland Chamber Orchestra
Co-production with Festival Aix-en-Provence, Royal Opera House Covent Garden, Teatro dei Maggio Musicale Florence, and Théâtre du Capitole Toulouse