Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

J. C. Bach: Adriano in Siria

At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme each season during the next 27 years to exploring the music by Mozart and his contemporaries which was being written and performed exactly 250 years previously.

Bethan Langford, Wigmore Hall

The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.

Tansy Davies: Between Worlds (world premiere)

An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.

Arizona Opera Ends Season in Fine Style with Fille du Régiment

On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.

Il turco in Italia, Royal Opera

This second revival of Patrice Caurier and Moshe Leiser’s 2005 production of Rossini’s Il Turco in Italia seems to have every going for it: excellent principals comprising experienced old-hands and exciting new voices, infinite gags and japes, and the visual éclat of Agostino Cavalca’s colour-bursting costumes and Christian Fenouillat’s sunny sets which evoke the style, glamour and ease of La Dolce Vita.

The Siege of Calais
——
The Wild Man of the West Indies

English Touring Opera’s 2015 Spring Tour is audacious and thought-provoking. Alongside La Bohème the company have programmed a revival of their acclaimed 2013 production of Donizetti’s The Siege of Calais (L’assedio di Calais) and the composer’s equally rare The Wild Man of the West Indies (Il furioso all’isola di San Domingo).

The Met’s Lucia di Lammermoor

Mary Zimmerman’s still-fresh production is made fresher still by Shagimuratova’s glimmering voice, but the acting disappoints

Voices, voices in space, and spaces: Thoughts on 50 years of Meredith Monk

When WNYC’s John Schaefer introduced Meredith Monk’s beloved Panda Chant II, which concluded the four-and-a-half hour Meredith Monk & Friends celebration at Carnegie’s Zankel Hall, he described it as “an expression of joy and musicality” before lamenting the fact that playing it on his radio show could never quite compete with a live performance.

St. John Passion by Soli Deo Gloria, Chicago

This year’s concert of the Chicago Bach Project, under the aegis of the Soli Deo Gloria Music Foundation, was a presentation of the St. John Passion (BWV 245) at the Harris Theater in Millennium Park.

Fedora in Genoa

It is not an everyday opera. It is an opera that illuminates a larger verismo history.

The Marriage of Figaro, LA Opera

On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.

The Tempest Songbook, Gotham Chamber Opera

Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to explore the possibilities of unconventional spaces and unconventional programs that the company has made its hallmark. The results were musically and theatrically thought-provoking, and left me wanting more.

San Diego Opera presents Adams’ Riveting Nixon in China

Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.

Ars Minerva presents Castrovillari’s La Cleopatra in San Francisco

It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.

An Ideal Cast in Chicago’s Tannhäuser

Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.

Madame Butterfly, Royal Opera

Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.

Tosca in Marseille

Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.

Poetry beyond words — Nash Ensemble, Wigmore Hall

The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.

Arizona Opera Presents Magritte Style Magic Flute

On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.

Henry Purcell: A Retrospective

There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.

OPERA TODAY ARCHIVES »

Performances

The
10 Nov 2012

Ralph Vaughan Williams: The Pilgrim’s Progress

After a slow, long period of gestation, commencing with a short dramatization at Reigate Priory in 1906 and spanning more than 40 years, the first performance of Vaughan Williams’ The Pilgrim’s Progress took place at Covent Garden on 26 April 1951, as part of the Festival of Britain.

Ralph Vaughan Williams: The Pilgrim’s Progress

A review by Claire Seymour

Above: The “Vanity Fair” scene [Photo by Mike Hoban courtesy of English National Opera]

 

Oft criticised for its lack of dramatic shape, it has taken a similarly long of time for this meditative, visionary opera, or ‘Morality’ as the composer termed it, with its patchwork libretto drawn from Bunyan’s allegory, the Psalms and other biblical texts, to receive a subsequent theatrical hearing: indeed, ENO claim that this is the first fully staged professional production for 60 years.

Director Yoshi Oïda and his designer Tom Schenk present us with a sombre vista: distressed buttress-like doors topped by metal cages, which twist and reconfigure in flexible combinations to suggest the infinite, labyrinthine corridors of incarceration. Bunyan does not leave his prison, but his dream enables him to escape physical confinement through spiritual liberation and transcendence, and Vaughan Williams indicates this in a Prologue and Epilogue in which Bunyan is seen in his cell, his back bearing a weighty burden. Further developing this frame, Oïda compels his Pilgrim to wander ceaselessly through various prison chambers, accompanied by fellow prisoners who become first his accompanying pilgrims and later the doleful creatures of the Valley of Humiliation and the lecherous debauchees of Vanity Fair. As the staging is shifted and turned, a thickly encrusted backdrop of deep ochres rising to smoky turquoises is momentarily revealed, like a Renaissance fresco. It is perhaps a glimpse of more ethereal worlds; but, elsewhere Oïda and Schenk offer few visual consolations and put their faith in Vaughan Williams’ radiant score to communicate the inspiring force of Bunyan’s dream and transport us to higher realms.

In Acts 1 and 2 the music certainly fulfils this task. All of Vaughan Williams is contained within this richly self-allusive score: the majestic dignity of the Sea Symphony, the dissonant conflicts of the Fourth, the meditative contemplations of the Fifth, the gentle pastoralism of the Third and Flos Campi, the spiritual consolations of the Serenade to Music. Conductor Martyn Brabbins conjured from the ENO orchestra music of epic grandeur and sweep, and of tender, diaphanous beauty. The opulent brass chords which chime out the opening psalm-tune modulated to a more mysterious, profound choir of trombones underpinning the arrival of the Evangelist. Similarly, the flashing trumpet fanfares which jubilantly herald the King’s Highway suggested hope for the world to come. The Evangelist was sung convincingly and with calm composure by Benedict Nelson, who subsequently, in Watchful’s Intermezzo between Acts 1 and 2, ‘Into thy hands, O Lord, I commend my spirit’, conveyed the peaceful simplicity of the monadic baritone line.

Oïda makes interesting use of the aesthetic concepts of Japanese theatre, drawing on the stylised gestures and ritualism of Noh and Kyogen. In a striking coup de théâtre the Pilgrim wields a bunraku miniature of himself to defeat the giant monster Apollyan — which rises like a gargantuan tower of rotting detritus from the deep, topped with a garish gas mask — as his howls (resonantly intoned by Mark Richardson) mingle with the doleful cries of the inhabitants of his oppressive realm.

The stark contrast of the immediately succeeding scene is first disconcerting then reassuring. The discordant orchestral turmoil is salved by soothing harp and strings, heralding the arrival of Two Heavenly Beings, sung by Kitty Whaley and Aoife O’Sullivan, whose simple lyricism relieved and comforted the Pilgrim with Tree of Life and the Water of Life.

Sadly, both musical and dramatic momentum flagged in Act 3 and 4. Vaughan William’s musical idiom is less varied here, perhaps because fundamentally there is no real dramatic conflict: the Pilgrim’s struggles are essentially internal, philosophical. Having backed minimalist visual intervention, Oïda stuck to his guns, but at times the result was bland and monotonous.

The rot actually set in (and the low point was reached) in the Vanity Fair episode. The scene presents unfortunate echoes of the ‘progress’ of Stravinsky’s Rake, but Vaughan Williams’ music lacks Stravinsky’s wit and sensuality, and the sharp satire of Hogarth and Auden is entirely absent. Stale, derivative and ultimately neither shocking nor sensuous, Oïda’s clichéd staging of a realm riddled with transvestism and endemic hermaphroditism certainly provided a visual contrast but was bizarrely incongruous with the world and ‘meaning’ of the rest of the opera. Faced with a parade of Cabaret copies and gyrating fairground grotesques it was not surprising that Pilgrim did not find himself tempted.

In Act 4, woodwind and horns conjure a restorative pastoral serenity, and the mood of tranquillity was enhanced by the song of the Woodcutter’s Boy, ‘He that is down need fear no fall’, sung with sweet composure by Kitty Whately — and repeated at the close with touching instrumental counterpoint by clarinet and viola. But, although the Delectable Mountains can be seen on the horizon, the promised end to the Pilgrim’s journey is still some distance away! There is little musical connection between this passage and the next, marked by the arrival of the comical duo, Mr and Mrs By-Ends, and Oïda made no attempt to provide organic visual or dramatic threads.

Indeed, throughout Oïda relished disparity, combining realism and period authenticity with symbolism and eclectic historical and cultural references. This heterogeneity was sometimes jarring. In a ritual robing at the start of his quest, the Pilgrim is dressed in seventeenth-century breastplate and helmet but arrested by English soldiers in the uniforms of WWII. When the Evangelist blesses the Pilgrim at the end of Act 2, he gives him the Roll of the Word, the Key of Promise, and a staff —the latter, here, a gent’s 1930’s umbrella. Such juxtapositions may serve to emphasise the universality of the work; but, a sense of embracing cohesion was diminished by the precise and increasingly frequent allusions to the world wars of the twentieth century — a tiny screen projected film footage of the war — in the aftermath of which the opera was first performed. Thus, in the closing moments, Eleanor Dennis as The Voice of a Bird, clutches an outsize white feather, which then transmutes into the white quill with which the Pilgrim’s death warrant is signed: is he accused of cowardice? And, the electric chair with which the Pilgrim is threatened in Vanity Fair is the medium of his final transfiguration: placed aloft, mid-stage, are we to imagine it is the gate to Heaven?

This work needs a baritone protagonist of considerable prowess and stamina — the Pilgrim is on stage throughout almost every scene — to provide dramatic focus and, in this particular production, to hold Oida’s disparate parts together. Fortunately it has one, in Roland Wood who, from slightly uncertain beginnings grew in musical and dramatic stature, reaching rapturous heights in his Act 3 aria, ‘Show me the way, O Lord, teach me Thy paths’, his progress culminating in a wonderfully moving final aria which shone with emotional intensity. There was an outstanding performance too from Timothy Robinson, who engaging adopted an array of disparate guises.

Forced into camp cliché in the Vanity Fair scene, the ENO chorus were nevertheless in outstanding voice: they relished the rhythmic vigour and nobility of the setting of ‘Who would true valour see’ that interpolates the dialogue between the Herald and Pilgrim in Act 2; and the exultations of the heavenly chorus, bathed in blinding light, of the closing moments were enrapturing.

There is no doubt of the sincerity of Vaughan Williams’ expression of humanity’s search for spiritual redemption. But, this production provided little evidence that the composer was correct in his insistence that it should be staged in the theatre, and not presented as a sort of church pageant or oratorio. Oïda invites us to view the allegorical events through the contextual prism of modern conflict; but then scatters a host of, admittedly sometimes imaginative and suggestive, visual allusions, which dilute the concept. The static qualities of the work are in fact deepened, not allayed, by the minimal set and frequent wide open expanses, as well as by the intermittent ritualistic gestures and motions. Ironically, perhaps a counter-intuitive visual radicalism might have been more effective.

That said, in addition to its ‘rarity value’, this production is worth catching for Roland Wood’s performance which communicates both human fallibility and divine holiness, and is complemented by the unfailing commitment and sensitivity of the whole cast.

Claire Seymour


Cast and Production:

Pilgrim/John Bunyan: Roland Wood; Evangelist/Watchful/First Shepherd: Benedict Nelson; Obstinate/Herald/Lord Hate-Good: George von Bergen; Interpreter/Usher/Mr By-Ends/Second Shepherd: Tim Robinson; Timorous/Lord Lechery/Messenger: Colin Judson; Pliable/Superstition/Celestial Voice 1: Alexander Sprague; Mistrust/Apollyon/Envy/Third Shepherd: Mark Richardson ; First Shining One/Madam Wanton/Voice of a Bird/Celestial Voice 3: Eleanor Dennis; 2nd Shining One/ Branch-Bearer/ Malice: Aoife O’Sullivan; Third Shining One/Cup-bearer/Pickthank/Woodcutter’s Boy: Kitty Whately; Madam Bubble/Mrs By-Ends/Celestial Voice 2: Ann Murray.

Conductor: Martyn Brabbins; Director: Yoshi Oïda; Set and Video Designer: Tom Schenk; Costume Designer: Sue Willmington; Lighting Designer: Lutz Deppe; Choreographer: Carolyn Choa.

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):