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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.
09 Jan 2013
In the Shadow of the Opéra
Graham Johnson chose the title "In the Shadow of the Opéra" for his recital at the Wigmore Hall, London, with Lucy Crowe and Christopher Maltman. Given the renaisaance in French opera, it's good that we should be thinking of the nature of French song and its relationship to French opera and culture.
This was an extremely ambitious programme. A friend, who has been going to the Wigmore Hall for 40 years, exclaimed "Some of this material we don't know!" There was so much to take in that it will take time to fully sink in.
Johnson divided his recital into four main themes : On Wings of Song (Love in flight), Mélodies and arias, Vers le sud (Exoticism) and Seascapes and Landscapes. The first two sections focussed on form, the last two on subject matter.
First, he focussed on lyrical mélodies like Charles Gounod's Tombez mes ailes! The image is of a butterfly in joyful flight, but to protect her offspring, she must tear off her own wings and die. It's a metaphor for the artist who must struggle and sacrifice in order that art might grow. The gravitas of the final line undercuts the flightiness that's gone before. Christopher Maltman sang the final line "Il faut vieller, et travailler" with great force. Just as Maltman's voice is dark, Lucy Crowe's voice is every light and sweet, good for a 19th century heroine. In this section she sang light-hearted uieces like Massenet's Le sais-tu? and Reynaldo Hahn's Si mes vers avaient des ailes. This made Maltman's songs have stronger impact : Georges Bizet's La Coccinelle (to a poem by Victor Hugo) gave Maltman a chance to show his skills as a character actor. The ladybird has such personality she could become a role in music theatre. Songs like Lucien Hillemacher's Villanelle lay too high for him, but the point was made : there's more to singing than getting the notes right.
Théodore Dubois (1837-1924) was one of the most successful composers of his day, but was despised by the young Gabriel Fauré, one of Pauline Viardot's inner circle. Johnson pertinently laced Dubois's Madrigal with Fauré's Fleur jetée. Dubois' delicate lyricism outclassed by Fauré's pounding rhythms. Ironically, Madrigal is more conventionally a piece for the theatre and Maltman dramatized it well. Dubois's poet, Henry Murger, inspired Puccini's La bohème. Fleur jetée, however, is by far the more distinctive piece in musical terms, which is why it's fairly well known and a favourite of many high sopranos. But it's not really a piece for big houses, and Lucy Crowe's voice was challenged by the loud crescendo in the final line. Johnson followed the song with Fauré's La chanson du pêcheur, which Maltman delivered in an almost conversational style. This you could imagine embedded in a larger work. Debussy's Apparition (Mallarmé), with its watery imagery and sparkling piano textures, suggested Pelléas et Mélisande, though it was written as early as 1884. It's even less sympathetic to voice, set extremely high in the style of the time. Massenet had the last laugh though, with a splendid duet Horace et Lydie (1886) to a poem by Albert de Musset. Mélodie or aria? The song describes Horace and Lydie's past romance, the voices deftly cutting across each other. At the end, they resolve their dilemma and sing in harmony.
One of the key themes in French culture is Orientalisme. It was a means of exploring "unknown territory" in many ways. Orientalism garbed ideas in strange, alien ways, so artists could express unusual thoughts in dramatic context. Strangely, there was no Délibes in this recital but we had Hector Berlioz Zaïde (1845) a florid narravtive song set in Granada and the palace of Aladdin "qui vaut Cordovie et Séville!" More Gounod, too. Maltman sang Maid of Athens (1872) partly in English because the text is Lord Byron, but the chorus is in Greek, reflecting Byron's passion for Greek independence. Two "exotic" languages in one song. Giacomo Meyerbeer's Mina (1837) is a jolly piece, fine for music theatre. Perhaps I'm the only person to have discovered Meyerbeer through his songs (excellent recording by Thomas Hampson) but at least that made me appreciate how interesting his work can be.
Xavier Leroux (1863-1919) was a new discovery for me, because Le Nil (1890) is a gorgeous song, intensely atmospheric. Lucy Crowe sang the mysterious introduction quietly, just above a whisper, so we could imagine we were floating along the Nile at night in a small boat. The poet, Armand Renaud, contrasts the bacarolle with the image of the Great Sphinx and the wide plain beyond the river. Thw lovers and their moment of happiness dwarfed by vast historic forces, A beautiful song I'd like to hear again. Two songs about guitars completed the section - Eduard Lalo's Guitare (1885) and Camille Saint-Saëns Guitarres et mandolines.
Operas on the grand scale can evoke huge panoramas of time and space. But so can song. Bizet's Douce mer (1867 )(Lamartine) and Fauré's Les Bercaux (1879) (Proudhomme), are charming mood pieces, the former embellished with an exotic cry which suggests that the Mediterranean setting might even be North Africa. Debussy's Nuit d'étoiles was perhaps the best known song in the recital, pleasantly done, if the phrasing and intensity wasn't quite up to the standards of, say, Véronique Gens or others who have made it a trademark. Massenet's Joie (1868) (Camille Distel) ended the evening on a cheerful note, but Johnson and his singers wisely chose to repeat Saint-Saëns Viens! (1855) (Victor Hugo) as an encore. It's an enjoyable duet where the voices intertwine rather like traditional rounds. So perhaps folk song got its way into this programme after all.