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

Gluck and Bertoni at Bampton

Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.

Purcell: A Retrospective

Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.

Mahler: Symphony no.3 — Prom 73

It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’

Los Angeles Opera Opens with La traviata

On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.

Stars of Lyric Opera at Millennium Park, 2014

In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.

Susannah in San Francisco

Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.

Xerxes, ENO

Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.

San Diego Opera Opens 2014-2015 Season

On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.

Otello at ENO

English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.

Anna Nicole, back with a bang!

It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.

Norma in San Francisco

It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).

Joyce DiDonato starts Wigmore Hall new season

There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.

Aida at Aspendos Opera and Ballet Festival

In strict architectural terms, the stupendous 2nd century Roman theatre of Aspendos near Antalya in southern Turkey is not an arena or amphitheatre at all, so there are not nearly as many ghosts of gored gladiators or dismembered Christians to disturb the contemporary feng shui as in other ancient loci of Imperial amusement.

St Matthew Passion, Prom 66

Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.

Glimmerglass: Butterfly Leads the Pack

Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.

Operalia, the World Opera Competition, Showcases 2014 Winners

On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.

Elektra at Prom 59

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.

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!

OPERA TODAY ARCHIVES »

Performances

Stockhausen's Helicopter
05 Oct 2012

Stockhausen’s Mittwoch, Birmingham Opera Company

The first performances of Stockhausen’s Mittwoch — the world premiere took place on Mittwoch 22 August, the composer’s birthday, whilst I attended the last of four performances on Samstag — could hardly have failed to be an ‘event’ of the highest order: the last of the Licht cycle, in duration roughly twice the length of Wagner’s Ring, to receive its first full performance, though it was the sixth of the seven days to be composed.

Karlheinz Stockhausen, Mittwoch

A review by Mark Berry

Above: Stockhausen’s Helicopter

 

These performances were, if possible, rendered all the more extraordinary by being given not by an established opera house and company, but by the heroic Birmingham Opera Company, founded by director, Graham Vick, as a community project, run from an office comprised of just three full-time workers in Birmingham’s Jewellery Quarter. Productions are site-specific: ‘We don't have an opera house and we don't work in conventional theatres. We conjure our theatres out of spaces used for other purposes or maybe just abandoned. A brief period of illumination and then we move on — not tied to bricks and mortar.’ But then Stockhausen was hardly a conventional composer, let alone a conventional opera composer. The Argyle Works, a disused chemical factory, proved an excellent setting, not only in terms of its large, adaptable spaces, but also on account of a fine acoustic, doubtless testament to a great deal of expert preparation by sound engineers.

Despite its use of a ‘super-formula’, Mittwoch is not easy — certainly far less so than, say Donnerstag — to consider as a unified work, especially in terms of narrative. Perhaps it would be more so as part of a complete cycle, perhaps not. But musically, the opening Greeting and Farewell, sound projection by the tireless Kathinka Pasveer, provide electronic material employed, if not throughout, then in two of the four intervening scenes, ‘Orchestra Finalists’ and ‘Michaelion’. In a sense, it is up to the individual whether he should construct his own Mittwoch narrative, but in a sense, that is always the case; the situation, as so often with Stockhausen, is simply more extreme here. Mittwoch was first intended to be the only opera in which the cycle’s three principal protagonists, for want of a better word than characters, (Eve, Lucifer, Michael) cooperate. As it happened, none of them actually appears in straightforward fashion, though Eve and Lucifer are represented by ‘emanations’ (the latter in the bizarre form of ‘Lucicamel’ (German, ‘Luzicamel’), yes, a pantomime camel), and the name of Michael is frequently invoked with apparent awe. Yet the idea of ‘cooperation’, related to the idea of ‘love’, remains: as Richard Toop points out, ‘almost uniquely in Stockhausen’s work, this collaboration is political, in a parliamentary sense; in the inner ones, it is more specifically musical’. Even when it is political, it seems a hundred light-years, or whatever measurement Stockhausen would employ, from the political commitment of contemporaries such as Henze and Nono, let alone the younger Lachenmann. Stockhausen’s (quasi?-)theological cosmogony remains the thing, for better and/or worse.

With ‘Wednesday Greeting’ (‘Mittwochs-Gruss), which originates from the electronic music of ‘Michaelion’ rather than the other way round, we were plunged into darkness, at least visually, whilst a four-track (quadraphonic) performance of music ‘very seldom reminiscent of this world and which awakens the universe of the fantasy’ (Stockhausen) unfolded. ‘Listening to music in the dark will become much more important in the future than it is today,’ Stockhausen wrote in Electronic Art Music (2006), going on to say, ‘The main function of art music will be to make the souls of the listeners fly freely through the universes, with infinite new surprises.’ Whatever one thinks of that, the darkness certainly made one concentrate, and brought into relief choreographed moments — in a scenic rather than musical sense — that appeared all around us, just like the sounding of the music. Aspects of creation myths, old and new, flashed before our eyes, all superbly executed by a fine team of dancers. It is difficult not to respond favourably to the intense seriousness of Stockhausen’s vision, if, at the same time, it is difficult — at least for this viewer and listener — not to find an unintentional absurdity to it too. ‘Yellow is the colour’, apparently, so we left the first hall to progress to the ‘World Parliament’, passing an artist apparently pleasurably writhing in yellow paint that he poured over himself, perhaps the closest we came to conventional eroticism.

‘World Parliament’ (‘Welt-Parlament’) proved, apart from anything else, quite beautiful in an almost conventional a cappella choral sense. Praise could not be too high for the representatives, members of Ex Cathedra, conducted by the President, Ben Thapa. Love is the subject for debate, its meaning discussed in a manner that perhaps came easier to a child of the sixties than to many of us today. But even if sentiments, sometimes in invented tongues, sometimes in the vernacular, such as ‘Love resounds in your voice. Listen to your tone, to the sound of your voice, to GOD, because love must be in it,’ might be a little difficult to take for us, however beautifully sung by tenors joining forces, let alone the President’s ‘Positive thinking — that’s it!’, the ritual, choral and visual, was entrancing. Perched high on yellow stools, representatives with different world flags emblazoned upon their faces — I saw them in make-up when entering the factory — interacted, debated, apparently learned from each other. The substitute President, an ‘Eve emanation’, her coloratura wonderfully despatched by soprano Elizabeth Drury, takes office after a janitor called out the President on account of his car being towed away. Stockhausen admitted that he ‘very consciously made it that banal.’ Quite: perhaps it is a matter of that ‘German humour’ even we Teutonophiles find baffling in the extreme. However, it was the beauties of Stockhausen’s choral writing, apparently not entirely removed from some of his earliest works, that offered greater sustenance.

‘Orchestra Finalists’ (‘Orchester-Finalisten’) had us turn to the often staggering instrumental prowess of a fine group of musicians named above, octophonic electronic music following the progress of the instrumentalists. Again, Pavseer’s expertise here was crucial to the scene’s success. Suspended from the ceiling, splashing in a paddling pool, shouting, even, according to Stockhausen, ‘moving in an individual way and projecting their personal aura’, this extends ‘the way musicians publicly perform during music competitions’. You can say that again. In addition to the musicians’ antics, there was much else to divert the eye: dance, processional, including men in top hats with billowing smoke, a man with an aeroplane on his head...

The ‘Helicopter String Quartet’, premiered by the Ardittis but here performed by the Elysian Quartet, has become so notorious that it is difficult to know what to say about it. It is probably best to understand it as further evidence of Stockhausen’s extraordinary imagination, somehow both naïve and incredibly complex. As theatre it is quite a thing — and one should remember that Mittwoch is theatre, not ‘absolute’ music, whatever that might mean. Reports I had read were highly critical of Radio 1 DJ Nihal as Moderator. Perhaps anyone who was not Stockhausen himself would have come in for considerable criticism here. Yet the role is prescribed in the work and our Moderator offered at least one sound piece of advice, to try to listen to the music, that is, not simply to be wowed by the effect, relayed to us via four screens. That is difficult to do, but especially towards the end, I found myself increasingly able to listen to the notes, to hear the passing of notes, even lines, as well as the shouted numbers of the Lucifer formula, between the players, as well as hearing the interaction of instruments and helicopters. In the post-quartet discussion, the pilots acquitted themselves very well indeed, one of them (Nigel Burton, I think) revealing a gift for dry wit.

The final scene, ‘Michaelion’, perhaps brings us closer to something more operatic as genuinely understood, though we remain distant indeed from The Marriage of Figaro. Indeed, at times we seem closer to the world of Dr Who. The name ‘Michaelion’ pays reference to Constantine’s fourth-century temple at Chalcedon in honour of the archangel Michael, but the ‘World Parliament’ has now turned inter-galactic, with absurdity whose humour may or may not be intentional. Cosmological solidarity is summarised by the uniquely cooperative role played by Lucifer’s ‘emanation’, Lucicamel, though passages such as the ‘Shoe-Shine Serenade’, the appearance of a huge bottle of champagne, and of course Lucicamel’s defecation of seven planet-globes, paralleling the seven days of the week, tend to linger longer in the memory. Luca, who arises out of the camel, is appointed Operator and responds to delegates’ concern in a short-wave form that harks back to 1960s works such as Kurzwellen. Once again the choral singing, this time from London Voices, was beyond reproach, similarly Pasveer’s sound projection and the expert instrumental playing, including a ‘Bassetsu-Trio’ for basset horn, trumpeter and trombonist, symbolising Eve, Michael, and Lucifer, but I wondered, perhaps echoing in its way the eighteenth-century, Mozartian serenade ‘entertainment’, albeit this time for delegates. Emerging from this strange yet compelling tableau-cum-drama, we were offered ‘a cup of yellow’ to the strains of the electronic ‘Wednesday Farewell’ (‘Mittwochs-Abschied’).

An extraordinary experience, by any standards, for which all concerned, from Vick to the musicians and other artists to the Arts Council deserve a huge round of whatever passes for applause on Sirius. Now we need someone to stage Licht in its entirety.

Mark Berry


Karlheinz Stockhausen, Mittwoch: Kathinka Pasveer (sound projection: Wednesday Greeting, World Parliament, Michaelion, music direction); Igor Kavulek (sound engineer)

BALANCE Audio-Media, Cologne (sound equipment); Graham Vick (director); Paul Brown (designs); Giuseppe di Iorio (lighting); Ron Howell (choreography) Sheelagh Barnard (technical director); Richard Willacy (executive producer). World Parliament: Representatives: Ex Cathedra (chorus master: Jeffery Skidmore); President: Ben Thapa; Substitute President: Elizabeth Drury. Orchestra Finalists: Dan Bates (oboe), Jonathan Rees (cello), Vicky Wright (clarinet), Amy Harman (bassoon), Debs White (violin), Ian Foster (tuba), Karin de Fleyt (flute), Andrew Connington (trombone), Bridget Carey (viola), Bruce Nockles (trumpet), Jeremy Watt (double bass), Mark Smith (French horn), David Waring (percussion. Helicopter String Quartet: Elysian Quartet (Emma Smith, Jennymay Logan (violins), Vincent Sipprell (viola), Laura Moody (cello); Moderator — DJ Nihal; Ian Dearden (sound projection); Miles Fletcher, Will Samuelson, Alistair Badman, Nigel Burton, Chris Holland, Peter Driver (pilots). Michaelion: Delegates — London Voices (chorus director: Ben Parry); Operator — Michael Leibendgut; Chloé l’Abbé (flute), Fie Schouten (basset horn), Marco Blauuw (trumpet), Stephen Menotti (trombone), Antonio Pérez Abelián (synthesiser); Lucicamel — Marie-Louise Crawley, Nathan Lafayette. Argyle Works, Birmingham, Saturday 25 August 2012

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):