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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.
Francesco Cavalli’s La Calisto was the composer’s ﬁfteenth opera, and the ninth to a libretto by Giovanni Faustini (1615-1651). First performed at the Teatro Sant’Apollinaire in Venice on 28th November 1651, the opera by might have been sub-titled ‘Gods Behaving Badly’, so debauched are the deities’ dalliances and deviations, so egotistical their deceptions.
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.
New from Oehms Classics, Walter Braunfels Orchestral Songs Vol 1. Luxury singers - Valentina Farcas, Klaus Florian Vogt and Michael Volle, with the Staatskapelle Weimar, conducted by Hansjörg Albrecht.
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.
04 Oct 2012
Martinů : Julietta, ENO
The ENO gave the British premiere of Bohuslav Martinů's Julietta many years ago, so this new production was eagerly awaited. But what will audiences new to Martinů get from this production? It's a myth that the English language makes opera more accessible. That just means audiences focus on words, rather than really listening or understanding.
Martinů's Julietta is a highly conceptual opera, with deliberate ambiguities and mind games. Just as in dreams, there are clues and contradictions. If ever there was an opera where listeners had to keep alert and pay attention, this is it. The opera predicates on dream states, but sleepwalking through Martinů's Julietta isn't wise.
The production dates from 2002 when it was first seen in Paris. The Overture opens to images of sleeping figures floating in space (or amniotic fluid). One figure emerges, Michel Lepic (Peter Hoare), bookseller by day, dreamer by night. The main set is a giant mock up of an accordion, which also serves to suggest the walls of a house from whose windows various characters appear at critcial points in the opera. Musically, this is perceptive, for Martinů writes an evocative solo for accordion into the first act, and the mechanics of the instrument suggest "lungs" or breathing. Accordions also evoke folk music, and thus memories of the past. A horn player walks round, his music evoking other, more sophisticated memories, offereing hope to those who have lost the past.
In this strange dream village, no-one can remember anything of the past. Nothing connects. If this is a landlocked European village, why is there a ship? Where do the Old Arab (Gwynne Howell) and Young Arab (Emilie Renard) fit in? The implication is that without memory, we're eternally adrift. It is significant that Martinů returned to Julietta at the end of his life, after decades of wandering through Europe and the United States.This gives the opera emotional depth, and is important to interpretation. As a musician, Martinů was sensitive to the power of music, where small snippets awake vast rivers of memory, so the many references to other music are deliberate. Even if some are barely more than wisps, their embedded presence is part of the meaning.
The giant accordion turns and moves, but within the orchestra Martinů writes fragments for solo instruments or small units like 3 oboes. The vast world theatre, and the tiny individual. This theme runs through the opera on several levels. Michel is alone in the busy village, and in the Central Office of Dreams he can't beat the bureaucratic machine. In the last act, the Accorion turns over so it resembles a giant, hideous skull, its keys reesembling the keys of a piano, the working tool of most composers.
Apart from Michel himself, the characters appear in different forms, and the Three Gentlemen in Frock Coats (as described in the score) sing in unison. Even Julietta (Julia Sporsén) is illusory, and needs to create an articial past through the postcards the Seller of Memories (Andrew Shore) peddles to the unwary. Gradually Michel is drawn deeper into delusion. Who shoots Julietta? Did she, can she die? It doesn't matter. People in this cosmos have no attention span. But as an audience, we do, which is why small details count, however elusive.
Anarchic as dreams are, performance should be rigorous. Martinů writes lusciously lyrical figures which seduce the ear, magically. But the Third Act tells us quite categorically that one cannot escape into the luxury of reverie. Beneath this lovely score lies a bedrock of anxiety. Is Michel all that different from the other inhabitants of this dream? He sells books (fiction?) after all. The Convict and the Blind Beggar are fixated by the same dream that takes the form of a lovely, elusive woman. Tension, anxiety and claustrophobia are fundamental to this music. Sharp staccatos, like the ticking of a clock, alarm bells. Yet at the ENO this sense of impending cataclysm was defused. Edward Gardner's Julietta is a pretty, light hearted reverie, not nightmare. The defining extremes in this core are smoothed over, so the firm structure of the opera becomes fragmented.
The singers, even the better ones like Hoare, Shore, Howell, Susan Bickley, Henry Waddington, Emilie Renard and Jeffrey Lloyd Roberts are solid rather than haunting. Martinů 's Julietta is not easy to stage but ironically the visuals (directed by Richard Jones, designed by Antony McDonald) were far more effective than the performance. We need to see this production because it's historic, and good. But anyone who wants to hear what the opera really should sound like should stick to the recordings. Krombholc (1964) is top recommendation, Mackerras conducts only fragments. When the complete new edition, recorded by Jiří Bělohlávek in 2009 is released, that will be the one to get. I've been listening to an aircheck of the broadcast. Even on an amateur quality tape, the true spirit of Martinů 's Julietta shines through, magical and manic in turns. There have been several stagings of Martinů's operas in recent years, and of course the full symphonic cycle, but Julietta is outstanding. This ENO performance doesn't begin to reach those heights. I can't blame anyone thinking that Martinů 's Julietta is mediocre if they haven't heard what it can sound like.