Recently in Reviews
Wigmore Hall has announced the 25 young singer and pianist duos from around the world who have been shortlisted for this prestigious competition, which takes place at Wigmore Hall in September with the generous support of the Kohn Foundation. Details were announced on 27 April during a recital by Milan Siljanov, who won top prize in the 2015 Competition.
Garsington Opera's thrilling new commission for the 2017 Season, Silver Birch, will feature over 180 participants from the local community aged 8-80, including students from primary and secondary schools, members of the local military community, student Foley artists under the guidance of Pinewood Studios and members of Wycombe Women’s Aid.
Opera San Jose has capped a wholly winning season with an emotionally engaging, thrillingly sung, enticingly fresh rendition of Puccini’s immortal masterpiece La bohème.
On Saturday evening April 22, 2017, San Diego Opera presented Giuseppe Verdi’s La traviata at the Civic Theater. Director Marta Domingo updated the production from the constrictions of the nineteenth century to the freedom of the nineteen twenties. Violetta’s fellow courtesans and their dates wore fascinating outfits and, at one point, danced the Charleston to what looked like a jazz combo playing Verdi’s score.
Thomas Adès’s third opera, The Exterminating Angel, is a dizzying, sometimes frightening, palimpsest of texts (literary and cinematic) and music, in which ceaseless repetitions of the past - inexact, ever varying, but inescapably compulsive - stultify the present and deny progress into the future. Paradoxically, there is endless movement within a constricting stasis. The essential elements collide in a surreal Sartrean dystopia: beasts of the earth (live sheep and a simulacra of a bear) roam, a disembodied hand floats through the air, water spouts from the floor and a burning cello provides the flames upon which to roast the sacrificial lambs. No wonder that when the elderly Doctor tries to restore order through scientific rationalism he is told, “We don't want reason! We want to get out of here!”
Is A Dog’s Heart even an opera? It is sung by opera singers to live
music. Alexander Raskatov’s score, however, is secondary to the incredible
stage visuals. Whatever it is, actor/director Simon McBurney’s first stab at
opera is fantastic theatre. Its revival at Dutch National Opera, where it
premiered in 2010, is hugely welcome.
In May 2016, Opera Rara gave Bellini aficionados a treat when they gave a concert performance of Vincenzo Bellini’s first opera, Adelson e Salvini, at the Barbican Hall. The preceding week had been spent in the BBC’s Maida Vale Studios, and this recording, released last month, is a very welcome addition to Opera Rara’s bel canto catalogue.
Jonas Kaufmann Mahler Das Lied von der Erde is utterly unique but also works surprisingly well as a musical experience. This won't appeal to superficial listeners, but will reward those who take Mahler seriously enough to value the challenge of new perspectives.
Following Garsington Opera for All’s successful second year of free public screenings on beaches, river banks and parks in isolated coastal and rural communities, Handel’s sparkling masterpiece Semele will be screened in four areas across the UK in 2017. Free events are programmed for Skegness (1 July), Ramsgate (22 July), Bridgwater (29 July) and Grimsby (11 October).
I kept hearing from knowledgeable opera fanatics that the Israeli Opera (IO) in Tel Aviv was a surprising sure bet. So I made my way to the Homeland to hear how supposedly great the quality of opera was. And man, I was in for treat.
At Phoenix’s Symphony Hall on Friday evening April 7, Arizona Opera offered its final presentation of the 2016-2017 season, Gioachino Rossini’s Cinderella (La Cenerentola). The stars of the show were Daniela Mack as Cinderella, called Angelina in the opera, and Alek Shrader as Don Ramiro. Actually, Mack and Shrader are married couple who met singing these same roles at San Francisco Opera.
On Saturday evening April 1, 2017, Placido Domingo and Los Angeles Opera celebrated their tenth year of training young opera artists in the Domingo-Colburn-Stein Program. From the singing I heard, they definitely have something of which to be proud.
The Festspielhaus in Baden-Baden pretty much programs only big stars. A prime example was the Fall Festival this season. Grigory Sokolov opened with a piano recital, which I did not attend. I came for Cecilia Bartoli in Bellini’s Norma and Christian Gerhaher with Schubert’s Die Winterreise, and Anne-Sophie Mutter breathtakingly delivering Mendelssohn’s Violin Concerto together with the London Philharmonic Orchestra. Robin Ticciati, the ballerino conductor, is not my favorite, but together they certainly impressed in Mendelssohn.
Mahler as dramatist! Mahler Symphony no 8 with Vladimir Jurowski and the London Philharmonic Orchestra at the Royal Festival Hall. Now we know why Mahler didn't write opera. His music is inherently theatrical, and his dramas lie not in narrative but in internal metaphysics. The Royal Festival Hall itself played a role, literally, since the singers moved round the performance space, making the music feel particularly fluid and dynamic. This was no ordinary concert.
Imagine a fête galante by Jean-Antoine Watteau brought to life, its colour and movement infusing a bucolic scene with charm and theatricality. Jean-Philippe Rameau’s opéra-ballet Les fêtes d'Hébé, ou Les talens lyriques, is one such amorous pastoral allegory, its three entrées populated by shepherds and sylvans, real characters such as Sapho and mythological gods such as Mercury.
Details of the Royal Opera House's 2017/18 Season have been announced. Oliver Mears, who will begin his tenure as Director of Opera, comments:
“I am delighted to introduce my first Season as Director of Opera for The Royal Opera House. As I begin this role, and as the world continues to reel from social and political tumult, it is reassuring to contemplate the talent and traditions that underpin this great building’s history. For centuries, a theatre on this site has welcomed all classes - even in times of revolution and war - to enjoy the most extraordinary combination of music and drama ever devised. Since the time of Handel, Covent Garden has been home to the most outstanding performers, composers and artists of every era. And for centuries, the joyous and often tragic art form of opera has offered a means by which we can be transported to another world, in all its wonderful excess and beauty.”
Whatever one’s own religious or spiritual beliefs, Bach’s St Matthew Passion is one of the most, perhaps the most, affecting depictions of the torturous final episodes of Jesus Christ’s mortal life on earth: simultaneously harrowing and beautiful, juxtaposing tender stillness with tragic urgency.
Lindy Hume’s sensational La bohème at the Berliner
Staatsoper brings out the moxie in Puccini. Abdellah Lasri emerged as a
stunning discovery. He floored me with his tenor voice through which he
embodied a perfect Rodolfo.
Listening to Moritz Eggert’s Caliban is the equivalent of
watching a flea-ridden dog chasing its own tail for one-and-half hours. It
scratches, twitches and yelps. Occasionally, it blinks pleadingly, but you
can’t bring yourself to care for such a foolish animal and its
A large audience packed into the Wigmore Hall to hear the two Baroque rarities featured in this melodious performance by Christian Curnyn’s Early Opera Company. One was by the most distinguished ‘home-grown’ eighteenth-century musician, whose music - excepting some of the lively symphonies - remains seldom performed. The other was the work of a Saxon who - despite a few ups and downs in his relationship with the ‘natives’ - made London his home for forty-five years and invented that so English of genres, the dramatic oratorio.
20 Jan 2013
Sir Harrison Birtwistle The Minotaur ROH 2013
If, first time around, in 2008, The Minotaur offered the obvious excitement of the premiere, it was now noteworthy how quickly it had settled into repertory status. Not that it has yet been performed elsewhere than Covent Garden, though it should be as a matter of urgency, but that its 2013 outing proceeded with the apparent ease one might expect of, say, The Magic Flute or Carmen. That is surely testament both to the excellence of the performances we heard as well as to the stature of Birtwistle’s opera itself.
Though it packs an undoubted musico-dramatic punch, The Minotaur is not perhaps the overwhelming experience, the assault upon one’s faculties, offered by The Mask of Orpheus. It arguably stands a ‘late’ or at least ‘later’ work, somewhat simpler - these things are relative, of course - and more direct (ditto). The unbroken thread of the score, a metaphor for Ariadne’s own thread, brings the work closer to conventionally understood operatic tradition. This is a more linear work than many, for though Birtwistle and his librettist, David Harsent, also play once again with ritual and repetition, re-telling is incorporated, expressed, almost Wagner-like, within an essentially linear narrative. The labyrinth, then, has order, clearly discernible, beyond the apparently senseless chaos of human-bestial existence, as symbolised in the person of the ‘half and half,’ Asterios the Minotaur. Whether to start here, with The Mask of Orpheus, with Gawain, with Punch and Judy, or elsewhere is not something about which to become unduly worked up; the choice would be akin to deciding or falling upon a Wagnerian baptism of fire with Tristan or the Shakespeare-like entrée of Die Meistersinger, and so on. It is difficult to imagine, however, that anyone with ears to hear and with the slightest curiosity would not be hooked; my immediate response upon emerging from the theatre was to hope that I should be able to find a ticket for a subsequent performance.
Reworkings of myth proceed in typical Birtwistle fashion, though here of course the credit is at least as much Harsent’s. An especially interesting idea is the presentation of the bull who mounted Pasiphae as Poseideon; the Minotaur is therefore perhaps Theseus’s half-brother. (We still do not know, nor does he, whether Theseus be the son of Poseidon or the son of Aegeus.) It is, moreover, an excellent touch to tantalise us with Theseus’s future abandonment of Ariadne; it is stressed that they will board the ship together, but it is equally noteworthy that no one foresees her reaching Athens. The orchestra, meanwhile, acts very much in neo-Wagnerian style as Chorus, shadowing, intensifying, commenting upon the action. Perhaps there is something of Bach in the well-nigh obbligato quality of the alto saxophone identified with Ariadne - who in this retelling becomes perhaps a more compromised, even ambiguous character. She is not always ‘straight’ with Theseus; she even attempts to trick Fate, both by moving a pebble from one hand to hand. It takes a second try, moreover, before she acts truthfully towards the Snake Priestess. Things could readily have turned out otherwise, then, or maybe not, if one believes in Fate. At any rate, thinking about such matters, experiencing them through the drama, is unavoidable.
Ryan Wigglesworth’s conducting proved almost Classical, again contributing very much to the suspicion that this opera has already attained ‘classic’ status. With an orchestra and chorus on top form, the musical drama, incisive, ominous, gripping, beautifully melancholic, spoke, as the cliché would have it, for itself. There was no need for any extraneous ‘excitement’ to be applied from without; this was a far more fulfilling, musically-involving approach. The battery of percussion spoke, of course, but so did the steely yet malleable tones of orchestral woodwind, and not just the saxophone. Choral baiting of the Minotaur truly chilled our blood, just as others’ blood will be spilled on stage.
Christine Rice offered a heartfelt, conflicted Ariadne, Johan Reuter a stolid - but deliberately so - Theseus, his heroism thoughtfully questioned. John Tomlinson, celebrating an extraordinary thirty-five years on the Covent Garden stage, seems to have made the role of the Minotaur just as much as his own as he did the Green Knight in Gawain. (Salzburg’s new production this summer will almost inevitably feature him.) It is a part well suited to his advancing years. Vocal perfection is not required; it might even be out of place. But dramatic presence and integrity most definitely are; the tragic plight of a creature created and rejected so cruelly by ‘humanity’ was searingly portrayed. Andrew Watts again caused consternation with the mysterious archaic babble of the Snake Priestess, tellingly translated by another old Birtwistle hand, Alan Oke. Elisabeth Meister made an equally fantastic impression as the chilling Ker, feasting on the innocents’ blood; it is a screaming harpy-like role, but a musically screaming one, especially in this assumption. There was, in short, no weak link in the cast, and it is a very strong cast indeed.
Stephen Langridge’s staging tells the story with clarity, aided by Alison Chitty’s straightforward yet imaginative designs. I cannot help but retain a niggling doubt that a more adventurous production might have brought out a good number more dramatic strands than we see here. Something more Mask of Orpheus-like or indeed Soldaten-like might have alerted the audience to dramatic layers that went unseen, if certainly not unheard. By the same token, however, there is nothing wrong with expecting and/or permitting the audience to do some ‘aural thinking’ for itself. Let us hope, in any case, that before long there will be alternatives, which will expand our imaginative understanding of the work.
Programme essays were for the most part particularly informative, pieces by Rhian Samuel and David Beard especially so, though it is slightly odd to read Samuel referring to The Mask of Orpheus as ‘Birtwistle’s early opera’; ‘earlier’ perhaps? Moreover, Ruth Padel’s piece is simply incorrect to claim that ‘Monteverdi’s first opera was Arianna’; It was of course Orfeo. Nevertheless, I learned a great deal from the contributions taken as a whole. How splendid, then, to experience the Royal Opera House very much back on form - and on form in so many ways.