Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Santa Fe Opera Presents Updated, at One Point Up-ended, Don Pasquale

On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!

Dolora Zajick Premieres Composition

At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.

Gluck: Orfeo ed Euridice

This elegant, smartly-paced film turns Gluck’s Orfeo into a Dostoevskian study of a guilt-wracked misanthrope, portrayed by American countertenor Bejun Mehta.

Aureliano in Palmira in Pesaro

Ossia Il barbiere di Siviglia. Why waste a good tune.

Britten War Requiem - Andris Nelsons, CBSO, BBC Prom 47

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’.

Il barbiere di Siviglia in Pesaro

Both by default and by merit Il barbiere di Siviglia is the hit of the thirty-fifth Rossini Opera Festival. But did anyone really want, and did the world really need yet another production of this old warhorse?

Armida in Pesaro

Armida (1817) is the third of Rossini’s nine operas for the Teatro San Carlo in Naples, all serious. The first was Elisabetta, regina di Inghilterra (1815), the second was Otello (1816), the last was Zelmira (1822).

Santa Fe Opera Presents an Imaginative Carmen

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.

Elgar Sea Pictures : Alice Coote, Mark Elder Prom 31

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.

Berio Sinfonia, Shostakovich, BBC Proms

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.

Four countertenors : Handel Rinaldo Glyndebourne

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.

Santa Fe Opera Presents The Impresario and Le Rossignol

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.

Barber in the Beehive State

Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.

Stravinsky : Oedipus Rex, BBC Proms

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 Presents a Passionate Fidelio

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.

Die Entführung aus dem Serail @ Hangar-7

We see the characters first in two boxes at an opera house. The five singers share a box and stare at the stage. But Konstanze’s eye is caught by a man in a box opposite: Bassa Selim (actor Tobias Moretti), who stares steadily at her and broods in voiceover at having lost her, his inspiration.

Rameau Grand Motets, BBC Proms

Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17.

Adriana Lecouvreur, Opera Holland Park

Twelve years after Opera Holland Park's first production of Francesco Cilea’s Adriana Lecouvreur, the opera made a welcome return.

Back to the Beginnings: Monteverdi’s Il ritorno d’Ulisse in patria at Iford Opera.

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.

Schoenberg : Moses und Aron, Welsh National Opera, London

Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission.

OPERA TODAY ARCHIVES »

Reviews

23 Jan 2013

Nash Ensemble, Wigmore Hall - Warlock, Britten

Surveying British chamber and instrumental music written between the 1890s and WWII, the Nash Ensemble’s Wigmore Hall residency series, Dreamers of Dreams, has illuminated the creativity and originality of British musical life during this period, revealing the shared and the idiosyncratic preoccupations of composers; the intertwined biographies of musicians; the influence of key individual performers on repertoire, style and idiom; the dialogue between old and new; and the prevailing shadows of war and irreversible change.

This recital was enriched by all these elements, its constituent works informed by an interest in the nation’s folk traditions as well as Celtic romanticism and custom; by expanding boundaries and new musical and geographical horizons; by elegiac melancholy and also by optimism, freshness and renewal.

The desolate tones of Peter Warlock’s darkly prophetic The Curlew, for tenor, flute, cor anglais and string quartet, dominated the first half of the concert. Setting four poems by W.B. Yeats, Warlock evokes an almost unalleviated mood of despair; much of the vitality of the music derives from the composer’s uncannily apposite setting of the text, and tenor Mark Padmore’s eloquent, unmannered delivery of the rhythmically elaborate text did much to communicate the vividness and immediacy of the work. The opening instrumental mood-painting was moving and atmospheric: the plangent cor anglais (Gareth Hulse) announcing the eponymous bird’s plaintive lament, answered by the gentle repetitive murmuring of the flute’s peewit (Philippa Davies). The players adroitly established the bleak vista before the first, delayed entry of the voice, “O curlew, cry no more in the air”. Throughout the instrumental fabric was clearly articulated, both solos and ensemble presenting thematic wisps with delicacy and dolefulness - a perfect illustrative backdrop for the melancholic texts. The string players wove an intricate web of tremolo and sul ponticello traceries, complementing the woodwind’s mournful diminuendos and echoes.

Padmore shaped the vocal lines intelligently, although perhaps he did not fully reveal the emotional disturbance at the heart of the work, for the text and score demand that we be truly discomforted and perturbed. But there was affecting contrast and drama. With the opening of final stanza of ‘The Withering of the Boughs’, the tenor evoked tentative intimations of hope and new life, warmed by a string rocking motif, which was then immediately and unequivocally destroyed by the voice’s exposed quasi parlando repetition: “The boughs have withered because I have told them my dreams.” The composer instructs the singer to use a “low tone - almost a whisper” and Padmore executed this challenging line with consummate control.

Yeats’ pensive Celtic lyricism and the plaintive cor anglais colouring of Warlock’s songs harked back to the opening work of the evening, Arnold Bax’s Oboe Quintet, the melodies of which mimic, though do not quote, Irish folksong and dance. Composed at the end of 1922, this composition was pioneering in its integration of oboe and strings. In the opening movement, Gareth Hulse’s wistful oboe figures rose with graceful melancholy from the strings’ introductory elegiac chords; and the muted pianissimo ending - the upper strings’ tranquillity disturbed by the cello’s insistent repetitions and the oboe’s final curlicue - was spell-binding.

But, while asked to create an endless range of textures and timbres, the strings do more than simply accompany. In the second movement, violinist Marianne Thorson spun a silky espressivo thread, accompanied by rich string chords, a beautiful contrast to the subsequent improvisatory flourishes from the oboe. Laurence Power conveyed the power and vitality of Bax’s writing for the viola. Moreover, despite the prevailing ambience of lament, lively folk gestures and rhythms provide energy and drive, culminating in an animated, jig-like final movement. The shadow of war darkens the hues of the closing bars, however, and the Nash Ensemble brought the piece to a sober, forlorn, but not sentimental, conclusion.

Britten’s Songs from the Chinese for voice and guitar followed the interval. These ancient texts, with their mild formality and distance, suited Padmore perfectly. In ‘The Old Lute’ - a setting of Arthur Waley’s translation of a poem by Emperor Wu-ti of the Han dynasty, who ruled more than 2000 years ago - Padmore floated the higher pitches and elongated the syllables to create a calm quietness, evoking the sound of the lute, now dusty and faded, but whose sound “is still cold and clear”. In contrast, the rhythm drive of Wu-ti’s ‘The Autumn Wind’, with its short phrases and vigorous consonants, enabled the tenor to re-create the dynamism of the racing wind, and to evoke the unstoppable momentum of passing time. Guitarist Craig Ogden sculpted crystalline accompaniments, establishing a fitting airiness and transparency. Together the performers ensured that the concentrated focus of the songs, and the formal and thematic unity of Britten’s score, was clearly communicated.

The evening ended with a rare opportunity to hear Vaughan Williams’ C Minor string quartet of 1898. Although one senses the young composer searching for an individual musical voice - the influence of Dvorak, Brahms and Tchaikovsky is evident - there is much of merit in these four movements, and the medium is convincingly handled, the string textures accomplished. The inner movements, Andantino and Intermezzo: Allegretto characteristically make use of Elizabethan modality and English folksong to create a meditative ambience, while the Variazione con finale fugato which concludes the work is a rhythmically invigorating presto. The four string players of the Nash Ensemble gave a committed performance of what essentially feels like ‘work in progress’; the ensemble work and attention to detail was exemplary and the players exhibited considerable technical mastery.

Given the thoughtfulness and imagination which has clearly informed the Nash Ensemble’s programming throughout this series, the inclusion of Elgar’s three tuneful yet rather light-weight violin encores - Salut d’Amour, Chanson de Matin and Chanson de Nuit - seemed an odd decision. Thorsen and Ian Brown (piano) performed them with refinement and artistry but the works seemed out of context here.

Claire Seymour


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):