Recently in Performances
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.
With the conclusion of the ROH 2013-14 season on Saturday evening - John Copley’s 40-year old production of La Bohème bringing down the summer curtain - the sun pouring through the gleaming windows of the Floral Hall was a welcome invitation to enjoy a final treat. The Jette Parker Young Artists Summer Showcase offered singers whom we have admired in minor and supporting roles during the past year the opportunity to step into the spotlight.
Many words have already been spent - not all of them on musical matters - on Richard Jones’s Glyndebourne production of Der Rosenkavalier, which last night was transported to the Royal Albert Hall. This was the first time at the Proms that Richard Strauss’s most popular opera had been heard in its entirety and, despite losing two of its principals in transit from Sussex to SW1, this semi-staged performance offered little to fault and much to admire.
Twenty years ago stage director Christopher Alden introduced Rossini’s then forgotten comedy to Southern California audiences in a production that is still remembered. In Aix Alden has revisited this complex work that many critics now consider Rossini’s greatest comedy.
The BBC Proms 2014 season began with Sir Edward Elgars The Kingdom (1903-6). It was a good start to the season,which commemorates the start of the First World War. From that perspective Sir Andrew Davis's The Kingdom moved me deeply.
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 (126.96.36.199.4), 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.