Recently in Performances
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.
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
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!
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.
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.
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 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.
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.
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.
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.
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.
Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.
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 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.
Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17.
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.
Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission.
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.
21 Nov 2012
Joan of Arc as Atheist Heroine
Jeanne D’Arc—Szenen aus dem Leben der Heiligen Johanna, the last stage work of the German composer Walter Braunfels, documents a passage in music history that has only recently begun to break through the surface.
Although the composer enjoyed widespread popularity in the mid-1920s with his
opera Die Vögel and religious works such as his Te Deum
which curried favour with the devout statesman Konrad Adenauer, Braunfels’
antagonism toward the Nazis and half-Jewish heritage led to a ban on his music
starting in 1933. It was not until 2001 that Jeanne D’Arc, written
at the height of the war between 1938-43, was unveiled to the public with a
concert performance in Stockholm starring Juliane Banse and conducted by
Manfred Honneck. Seven years later, the Deutsche Oper engaged the late
directing provocateur Christoph Schlingensief to conceive what would be the
opera’s staged premiere.
Often interpreted as a reaction to the brutality of the Holocaust,
Jeanne D’Arc expresses a desperate belief in the powers of the
divine to redeem the spiritually pure from the persecution of a society blinded
by false values. The French martyr and Catholic saint Joan of Arc had of course
already conjured operas by Giuseppe Verdi and Arthur Honegger, yet it was a
performance of Hindemith’s subversive Mathis der Maler that moved
Braunfels to pen his own libretto and carry forth with a religiously laden
opera. Choruses lifted from Passion oratorios intermingle with blocks of
extended tonality that evoke Wagner and Strauss without creating a hypnotic
sense of inebriation. The most interesting passages emerge in the unpredictable
harmonic development and sardonic trumpet fanfares at the start of the second
act that give full expression to Braunfels’ unassuaged frustration.
It is a shame that Schlingensief’s production, revived for three
performances this season and seen November 16, adopts an atheist critique of
western Christianity that is subsequently drowned in silly, morbid gags and
distracting video projections (executed with Anna-Sophie Mahler and Søren
Schuhmacher). Footage ranging from shots of a Nepalese village, where a
wreathed corpse is burned in a religious process, to the juxtaposition of
church boys with references to Mafia activity only misconstrues Braunfels’
simple allegory. Images of Schlingensief himself among the Nepalese and the
oversized anatomical set of lungs that descend downstage may make this staging
a fascinating historical document (the director died of lung cancer in 2010),
but he imposes more on this opera than he illuminates. Ultimately, it is hard
to justify the expense that went into the rotating stage’s convolution of
scenes (designs by Thomas George and Thekla von Müllheim).
A live cow emerges as an ostensible symbol for Johanna when the wife of the
Knight Baudricourt insists that she should be set free to bring an end to
pestilence in the village, accompanied by a nonsensical sign reading “Tote
Kuh fällt vom Schnurrbart” (the dead cow falls from its whiskers). Gaggles
of midgets in nun suits and projections of animal insides are enough to make
one cringe, but the distaste reaches its peak in an extra with cerebral palsy
who, dressed in a crown and gymnast’s suit (costumes by Aino Laberenz),
writhes in spasms with the music until he is smothered in fake blood and chokes
with suicidal gags for what felt like much too long. Although the character’s
symbolic presence as an extension of the King’s suffering eventually makes
itself clear, the exploitation of a disabled individual to this artistic end is
questionable at best. Schlingensief surely intended to make a statement in
favour of tolerance for all human beings, but his warped concept of social
activism only undermines the historical value of Braunfels’ opera. The
director also replaces some of the Inquisitor’s seminal lines with the spoken
words of a midget, such as the final “We have burned a holy being!” The
effect is perverse and detracts from the weight of the story. Just as
ridiculous is the moment when Joan of Arc emerges as a black-faced death angel
from an oversized birthday cake, only to light flickering candles as a symbol
of her burning at the stake.
Despite the tremendous stamina and purity of tone American soprano Mary
Mills brought to the title character, she was hampered by the stilted stage
concept. Rarely has there been a better example of Regietheater’s
power to undermine the presence of impeccable, if not so thespian-oriented,
musicianship. The rich-voiced English baritone Simon Neal gave a standout
performance as Joan’s ally, Gilles de Rais, and Kim-Lilian Strebel and Annie
Rosen made for a prettily sung, homogeneous pair as her female patron saints
Katharina and Margarete. In the role of St. Michael, the tenor Paul McNamara
gave an earnest delivery but suffered from a somewhat swallowed timbre; the
orchestra of the Deutsche Oper under Matthias Foremny also could have helped
matters by producing more restrained pianissimi.
Clemens Bieber made for an affecting King, even if one had to avert one’s
eyes from the cartoonish portrayal Schlingensief set out to achieve. Tobias
Kehrer gave a warm portrayal of Johanna’s father, Jacob, entering the stage
in bishop garb on a reindeer sled, and the nasal timbre of Paul Kaufmann made
for an appropriately pathetic portrait of the shepherd Colin. Jörg Schörner
gave a fine performance in the role of the sympathizing Duke of Alençon, while
Lenus Carlson made for an imposing Duke de la Trémouille. Yosep Kang also
stood out as Bertrand de Poulengy. The orchestra of the Deutsche Oper was stronger in soaring lyric lines than complex polyphony, with the brass especially smudged. The
house chorus also did not sound as rehearsed as usual despite its reliably
strong performance. Several seats were empty after intermission, a rare
occurrence in Berlin. Perhaps it would have made more sense to focus on this
musical specimen in concert performance, which is exactly what the Salzburg
Festival has planned for 2013.