Recently in Performances
Director Annabel Arden believes that Rossini’s Il barbiere di Siviglia is ‘all about playfulness, theatricality, light and movement’. It’s certainly ‘about’ those things and they are, as Arden suggests, ‘based in the music’.
George Enescu’s Oedipe was premiered in Paris 1936 but it has taken 80 years for the opera to reach the stage of Covent Garden. This production by Àlex Ollé (a member of the Catalan theatrical group, La Fura Dels Baus) and Valentina Carrasco, which arrives in London via La Monnaie where it was presented in 2011, was eagerly awaited and did not disappoint.
Lyric Opera of Chicago staged Charles Gounod’s Roméo et Juliette as the last opera in its current subscription season.
‘The plot is perhaps the least moral in all opera; wrong triumphs in the name of love and we are not expected to mind.’
Anthony Minghella’s production of Madame Butterfly for ENO is
wearing well. First seen in 2005, it is now being aired for the sixth time and is still, as I observed in 2013, ‘a breath-taking visual banquet’.
This concert version of La straniera felt like a compulsory musicology field trip, but it had enough vocal flashes to lobby for more frequent performances of this midway Bellini.
As poetry is the harmony of words, so music is that of notes; and as poetry is a rise above prose and oratory, so is music the exaltation of poetry.
From experiments with musique concrète in the 1940s, to the
Minimalists’ explorations into tape-loop effects in the 1960s, via the
appearance of hip-hop in the 1970s and its subsequent influence on electronic
dance music in the 1980s, to digital production methods today,
‘sampling’ techniques have been employed by musicians working in
genres as diverse as jazz fusion, psychedelic rock and classical music.
On May 7, 2016, San Diego Opera presented the West Coast premiere of Great Scott, an opera by Terrence McNally and Jake Heggie. McNally’s original libretto pokes fun at everything from football to bel canto period opera. It includes snippets of nineteenth century tunes as well as Heggie's own bel canto writing.
A foiled abduction, a castle-threatening inferno, romantic infatuation, guilt-laden near-suicide, gun-shots and knife-blows: Andrea Leone Tottola’s libretto for Vincenzo Bellini’s first opera, Adelson e Salvini, certainly does not lack dramatic incident.
Opera as an art form has never shied away from the grittier shadows of life. Nor has Manitoba Opera, with its recent past productions dealing with torture, incest, murder and desperate political prisoners still so tragically relevant today.
Published in 1855 as an entertainment for his two daughters, William Makepeace Thackeray’s The Rose and the Ring is a burlesque fairy-tale whose plot — to the author’s wilful delight, perhaps — defies summation and elucidation.
What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.
I suspect that many of those at the Wigmore Hall for The King’s
Consort’s performance of the La Senna festeggiante (The
Rejoicing Seine) were lured by the cachet of ‘Antonio Vivaldi’ and
further enticed by the notion of a lover’s serenade at which the generic
term ‘serenata’ seems to hint.
Having enjoyed superb singing by a young cast of soloists in Classical
Opera’s UK premiere of Jommelli’s Il Vogoleso the
previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final
at the Wigmore Hall confirmed the strength and depth of talent possessed by the
young singers studying in and emerging from our academies and conservatoires.
On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.
Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.
London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.
Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.
On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.
10 Nov 2012
Oliver Knussen: Where the Wild Things Are and Higglety Pigglety Pop!
Marking Oliver Knussen’s sixtieth birthday came a BBC Total Immersion
weekend at the Barbican: a double-bill of Knussen’s two operas written in
collaboration with Maurice Sendak, Where the Wild Things Are and
Higgledy Piggledy Pop! on Saturday, followed by a day of two chamber
concerts, a film, and an orchestral concert conducted by the composer himself
This co-production of the two operas with the Aldeburgh Festival and
the Los Angeles Philharmonic Association was a delight. Netia Jones employs a
cunning, loving mix of animation and live action to retain as much as humanly
possible of Sendak’s celebrated drawings. Sometimes we see more of one than
the other, though the principal characters — the boy Max in Where the
Wild Things Are and Jennie the Sealyham Terrier in Higglety Pigglety
Pop! — are ‘real’ throughout. How much lies their — or our? —
imagination? What is real anyway? The use of animation for the monsters save at
the beginning and end of the first opera — we see the singers go behind a
screen and emerge at the end, and of course we hear the, throughout —
heightens our questioning. The screen in neatly reversed in Higglety
Pigglety Pop! so that we see the secondary characters both on stage and on
film. Again, what is real? Are not both varieties of apparition and/or
depiction? In the land of the Mother Goose World Theatre, all the world’s a
stage — a tribute, surely, as much to Stravinsky and his Rake’s
Progress tribute to Mozart, the latter parodied in Knussen’s final
scene, as to Ravel. (Both Higglety and Don Giovanni end
'outside' their dramas, in bright if tarnished D major.) The repetitions of
that gala performance, the time-honoured tradition of a play within a play,
unsettle as they should. What do they mean? When will they stop? Again, what,
and who, is ‘real’? That is very much the stuff of imaginary worlds,
strongest for some in childhood, but for many of us just as powerful in
subsequent stages of our lives.
Crucially, the sense of fantasy in libretto and production is at the very
least equally present in Knussen’s scores, kinship with Ravel especially
apparent in Where the Wild Things Are. And we all know who composed
the most perfect operatic depiction of childhood. Stravinsky sometimes seems
close too, for instance in the fiercer rhythmically driven music of the second
scene (Mama and her hoover), the Symphony in Three Movements coming to
my mind. And the musical material itself of course delightfully pays tribute
both to Debussy’s La boîte à joujoux and most memorably to
Boris Godunov, direct quotation reminiscing of the Tsar’s ill-fated
coronation when Max is crowned King of all Wild Things.
A scene from Higglety Pigglety Pop!
Ryan Wigglesworth’s direction was palpably alive to this sense of
orchestral wonder and fantasy, his programme notes an exemplary tribute from
one composer-conductor to another from whom he has learned a great deal. The
tone of performance darkened in tandem with that of the score for Higglety
Pigglety Pop! Detail was meaningful without exaggeration, for instance in
the subtle pointing up of certain intervals associated with different
characters. Those with ears to hear would do so, consciously or otherwise.
Moreover, the orchestra’s response was as assured, as disciplined, as
generous as the conductor’s direction. The Britten Sinfonia was throughout on
outstanding form, thoroughly inside Knussen’s idiom, unfailingly precise
without sacrifice to warmth of tone. Despite relatively chamber-like forces, at
least in the string section (184.108.40.206.4), one often felt that was hearing a
larger orchestra, for this was anything but a small-scale performance. Indeed,
accustomed as I am to hearing the London Symphony Orchestra at the Barbican,
there were many times when I should not have been surprised to discover that I
had in fact been hearing the LSO.
Claire Booth headed a fine cast for Where the Wild Things Are, her
Max as quicksilver on stage as vocally. Lucy Schaufer proved every inch her
equal as Jennie in Higglety Pigglety Pop! Very much the singing
actress, her deeper mezzo tones were perfectly suited to the darkened tones of
the score. There is something a little dangerous about Jennie and the acting
world of ‘experience’ for which she forsakes her comfortable home — yet
in a sense all children must at some point act similarly. All members of the
two casts, however, were richly deserving of praise, a particular favourite of
mine Graeme Danby’s surreal, apparently innocent Pig-in-Sandwich-Boards.
These performances came across as true company efforts, a state of affairs
doubtless deepened by ‘experience’ in Aldeburgh and Los Angeles.
Where the Wild Things Are
Max: Claire Booth; Mama/Voice of Tzippy: Susan Bickley; Moishe: Christopher
Lemmings; Emil: Graeme Broadbent; Aaron: Jonathan Gunthorpe; Bernard: Graeme
Danby; Tzippy: Charlotte McDougall
Higglety Pigglety Pop!
Jane: Lucy Schaufer; The Potted Plant/Baby: Susanna Andersson; Rhoda/Voice
of Baby’s Mother: Claire Booth; Cat-Milkman/High Voice of Ash Tree:
Christopher Lemmings; Pig-in-Sandwich-Boards: Graeme Danby; Lion/Low Voice of
Ash Tree: Graeme Broadbent
Netia Jones (director, designs); Britten Sinfonia/Ryan Wigglesworth
(conductor). Barbican Hall, Saturday 3 November 2012.