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The Feast at Solhaug : Henrik Ibsen's play Gildet paa Solhaug (1856) inspired Wilhelm Stenhammer's opera Gillet på Solhaug. The world premiere recording is now available via Sterling CD, in a 3 disc set which includes full libretto and background history.
For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.
As the German language describes so beautifully, a “Schrei aus
tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra
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Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.
Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.
On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.
Here is one of the next new great conductors. That’s a bold statement,
but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment
“is the biggest news in the conducting world.” But Ms. Mirga
Gražinytė-Tyla will be getting a lot of weight on her shoulders.
Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.
Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.
On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.
Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.
You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.
If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.
Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.
Honours yet again to Oehms Classics who understand the importance of excellence. A composer as good, and as individual, as Walter Braunfels deserves nothing less.
I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.
For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.
Akhnaten is the third in composer Philip Glass’s trilogy of operas about people who have made important contributions to society: Albert Einstein in science, Mahatma Gandhi in politics, and Akhnaten in religion. Glass’s three operas are: Einstein on the Beach, Satyagraha, and Akhnaten.
Shakespeare re-imagined for the very Late Baroque, with Bampton Classical Opera at St John's Smith Square. "Shakespeare, Shakespeare, Shakespeare....the God of Our Idolatory". So wrote David Garrick in his Ode to Shakespeare (1759) through which the actor and showman marketed Shakespeare to new audiences, fanning the flames of "Bardolatory". All Europe was soon caught up in the frenzy.
David Little composed his one-man opera, Soldier Songs, ten years ago and the International Festival of Arts & Ideas of New Haven, Connecticut, premiered it in 2011. At San Diego Opera, the fifty-five minute musical presentation and the “Talk Back” that followed it were part of the Shiley dētour Series which is held in the company’s smaller venue, the historic Balboa Theatre.
09 Dec 2012
Meyerbeer Robert le Diable, Royal Opera House
Why was Giacomo Meyerbeer's Robert le Diable an overwhelming success in its time ? The Royal Opera House production suggests why: it's a cracking good show! Extreme singing, testing the limits of vocal endurance, and extreme drama. Robert le Diable is Faust, after all, not history, and here its spirit is captured by audacious but well-informed staging. Listen with an open mind and heart and imagine how audiences in Meyerbeer's time might have imagined the madness and magic that is Robert le diable.
Bryan Hymel is outstanding, singing the difficult, unusual part with exceptionally fluid, lyrical singing, the cruel tessitura negotiated with such strong technique that we hear the part, not the effort. He isn't simply displaying vocal skill, but infusing the part with greater psychological depth than the text itself suggests. That is true artistry. Opera is not singing alone, it is drama with music at its heart. The extremes Meyerbeer writes into the vocal line express Robert's tortured soul: Hymel makes them ring with emotional conviction. In the duet "Mon coeur s'élance et palpite", he almost steals the show though Isabelle has the killer high notes. Many other exquisite moments, like the Act Four "du magique rameau". Hymel, still only 33, is a voice to cherish.
The parts of Alice and Isabella are tours de force. Alice is a maid from Normandy, as the orchestra tells us with vaguely folk melodies. Although she carries a letter from Robert's mother she is not Micaëla whose love for Don José is tainted with possessiveness. Meyerbeer's audiences would have no trouble identifying Alice with Joan of Arc, another girl from Normandy who fought against all odds. Marina Poplavskaya's Alice is no bimbette, but a heroine worthy of Jeanne d'Arc herself.
Poplavskaya's voice soars clear over the orchestra in the tricky early parts of the opera. But it's in her confrontation with Bertram that she shows the intelligence she brings to the characterization. Poplavskaya reaches the horrendously high notes with clarity. Alice is direct, she doesn't make a fuss, so this intense portrayal is psychologically true. Yet it also refects the recurrent staccato in the music, and the thrusting, stabbing passages in the orchestra. The mock medieval battle in the text is outclassed by the cosmic battle for Robert's soul. Poplavskaya's Alice is lithe and energetic, for she's a swordsman duelling against death.
Isabella's two biggest arias, "Idole de ma vie" and "Robert, toi que je t'aime" define the word "show stopper". Done well, the audience is stunned and the action stops until applause subsides. That alone can make good theatre. In the Cavatina, the word "Grâce" is repeated in elaborate variations. Then the orchestra chimes in, provoking even greater feats of vocal gymnastics. You're left gasping. Patrizia Ciofi received much applause for standing in at the last moment. She's very experienced, having first taken the role more than ten years ago. Perhaps she'll slip back into gear as the run continues. She's excellent, but this is a role that needs heart shatteringly astonishing singing.
John Relyea sings Bertram's set piece arias at the end of Act Four impressively but he is no pantomime villain. Tellingly, he sings details like the recurrent "mon fils, mon fils" with gruff tenderness. He wants Robert because Robert is his son. Relyea's subtlety suggests why Bertram was once loved by the saintly Rosalie, Robert's mother. While Meyerbeer milked the plot for melodrama, there's room in the music for the depth Relyea brings to it.
Since many people know nothing of Meyerbeer other than Wagner's slander, our modern approach to Meyerbeer is distorted. Wagner was such a complex person that it's nonsense to take a simplistic view of the Wagner/Meyerbeer relationship. Alberich-like, Wagner attacked Meyerbeer, as if to downplay how much he owed him If Meyerbeer's use of the orchestra seems over the top to us, it's because we are thinking in Wagnerian terms. Meyerbeer extends his characterizations with motives that run through the opera like a thread - drinking songs, marches, Norman folk songs. Develop these further and call them Leitmotivs. He also uses the orchestra sparingly - harps around Isabella's angelic singing, brooding winds and brass around Bertram. The large orchestral flourishes are deftly done, and move the action forward, without overpowering - we want to hear those clear high vocal notes shine, after all.
If we free ourselves of Wagner snobbery, we can appreciate Robert le Diable's true place in music history. Its obvious antecedent is Carl Maria von Weber's Der Freischütz and its direct descendant Berlioz The Damnation of Faust. All derive form the High Romantic fascination with Gothic fantasy and the occult. Meyerbeer may not be "modern" taste but that reflects on our awareness of period opera. Even Bach was largely forgotten until Mendelssohn championed his music. It's only in relatively recent decades that Rossini and Handel operas have enjoyed the respect they deserve. Perhaps the shadow of Wagner is so strong that we don't let ourselves enjoy Meyerbeer because we're too worried about what others might think.
We should bear this background in mind when assessing this Royal Opera House production, directed by Laurent Pelly with designs by Chantal Thomas and atmospheric lighting by Duane Schuler. This staging would go a long way towards a reasessment of Meyerbeer because it is well researched and erudite. The ballet, where the ghosts of dead nuns are seem rising from their graves, is based almost exactly on the original Paris designs. The etchings we see are also based on authentic period imagery. The huge revolving mountain that dominates the stage could come straight out of a Gothic painting or novel. To 19th century people, wild landscapes represented fear and superhuman forces. Think the Wolf's Glen in Der Freischütz.
Robert le Diable is melodrama, but by no means po-faced. Even Heinrich Heine noted that the plot wasn't great.
"Es ist ein großes Zauberstück
Voll Teufelslust und Liebe;
Von Meyerbeer ist die Musik,
Der schlechte Text von Scribe."
This staging is colourful because the music is colourful. How Meyerbeer's audiences must have thrilled to the sight of semi-naked nuns dancing lustfully. They would have enjoyed mock medieval pgeantry without worrying too much whether it was authentic. Our modern obssession with period-specific staging meant nothing to audiences who were used to seeing zany mixtures of period and style. Ironically, this is a much more authentic staging than many realise. In many ways, we are less open to the art of imagination now than our forebears were once. Why shouldn't we have as much fun as they did? Pelly and Thomas are giving us a chance to see the opera in context. We should value the chance to see this opera done in this way because chances are we won't get many opportunities since it's not at all an easy work to stage.
This ROH production is being recorded and filmed. BBC Radio 3 is broadcasting an audio version on Saturday 15th December (link here).