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

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. Perfection, as one would expect from arguably the finest Rameau interpreters in the business, and that's saying a lot, given the exceptionally high quality of French baroque performance in the last 40 years.

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. The world of commercial public opera had only just dawned with the opening of the Teatro San Cassiano in Venice in 1637 and for the first time opera became open to all who could afford a ticket, rather than beholden to the patronage of generous princes. Monteverdi took full advantage of the new stage and at the age of 73 brought all his experience of more than 30 years of opera-writing since his ground-breaking L’Orfeo (what a pity we have lost all those works) to the creation of two of his greatest pieces, Ulysses and then his final masterpiece, Poppea.

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. It is a sad state of affairs when a season that includes both Boulevard Solitude and Moses und Aron is considered exceptional, but it is - and is all the more so when one contrasts such seriousness of purpose with the endless revivals of La traviata which, Die Frau ohne Schatten notwithstanding, seem to occupy so much of the Royal Opera’s effort. That said, if the Royal Opera has not undertaken what would be only its second ever staging of Schoenberg’s masterpiece - the first and last was in 1965, long before most of us were born! - then at least it has engaged in a very welcome ‘WNO at the Royal Opera House’ relationship, in which we in London shall have the opportunity to see some of the fruits of the more adventurous company’s endeavours.

Rossini is Alive and Well and Living in Iowa

If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.

Gergiev : Janáček Glagolitic Mass, BBC Proms

Composed during just a few weeks of the summer of 1926, Janáček’s Slavonic-text Glagolitic Mass was first performed in Brno in December 1927. During the rehearsals for the premiere - just 3 for the orchestra and one 3-hour rehearsal for the whole ensemble - the composer made many changes, and such alterations continued so that by the time of the only other performance during Janáček’s lifetime, in Prague in April 1928, many of the instrumental (especially brass) lines had been doubled, complex rhythmic patterns had been ‘ironed-out’ (the Kyrie was originally in 5/4 time), a passage for 3 off-stage clarinets had been cut along with music for 3 sets of pedal timpani, and choral passages were also excised.

Donizetti and Mozart, Jette Parker Young Artists Royal Opera House, London

With the conclusion of the ROH 2013-14 season on Saturday evening - John Copley’s 40-year old production of La Bohème bringing down the summer curtain - the sun pouring through the gleaming windows of the Floral Hall was a welcome invitation to enjoy a final treat. The Jette Parker Young Artists Summer Showcase offered singers whom we have admired in minor and supporting roles during the past year the opportunity to step into the spotlight.

Glyndebourne's Strauss Der Rosenkavalier, BBC Proms

Many words have already been spent - not all of them on musical matters - on Richard Jones’s Glyndebourne production of Der Rosenkavalier, which last night was transported to the Royal Albert Hall. This was the first time at the Proms that Richard Strauss’s most popular opera had been heard in its entirety and, despite losing two of its principals in transit from Sussex to SW1, this semi-staged performance offered little to fault and much to admire.

First Night of the BBC Proms : Elgar The Kingdom

The BBC Proms 2014 season began with Sir Edward Elgars The Kingdom (1903-6). It was a good start to the season,which commemorates the start of the First World War. From that perspective Sir Andrew Davis's The Kingdom moved me deeply.

Le nozze di Figaro, Munich

One is unlikely to come across a cast of Figaro principals much better than this today, and the virtues of this performance indeed proved to be primarily vocal.

James Gilchrist at Wigmore Hall

Assured elegance, care and thoughtfulness characterised tenor James Gilchrist’s performance of Schubert’s Schwanengesang at the Wigmore Hall, the cycles’ two poets framing a compelling interpretation of Beethoven’s An die ferne Geliebte.

Music for a While: Improvisations on Henry Purcell

‘Music for a while shall all your cares beguile.’ Dryden’s words have never seemed as apt as at the conclusion of this wonderful sequence of improvisations on Purcell’s songs and arias, interspersed with instrumental chaconnes and toccatas, by L’Arpeggiata.

Nabucco at Orange

The acoustic of the gigantic Théâtre Antique Romain at Orange cannot but astonish its nine thousand spectators, the nearly one hundred meter breadth of the its proscenium inspires awe. There was excited anticipation for this performance of Verdi’s first masterpiece.

Richard Strauss: Notturno

Richard Strauss may be most closely associated with the soprano voice but this recording of a selection of the composer’s lieder by baritone Thomas Hampson is a welcome reminder that the rapt lyricism of Strauss’s settings can be rendered with equal beauty and character by the low male voice.

Saint Louis: A Hit is a Hit is a Hit

Opera Theatre of Saint Louis has once again staked claim to being the summer festival “of choice” in the US, not least of all for having mounted another superlative world premiere.

La Flûte Enchantée (2e Acte)
at the Aix Festival

In past years the operas of the Aix Festival that took place in the Grand Théâtre de Provence began at 8 pm. The Magic Flute began at 7 pm, or would have had not the infamous intermittents (seasonal theatrical employees) demanded to speak to the audience.

Ariodante at the Aix Festival

High drama in Aix. Three scenarios in conflict — those of G.F. Handel, Richard Jones and the intermittents (disgruntled seasonal theatrical employees). Make that four — mother nature.

Lucy Crowe, Wigmore Hall

The programme declared that ‘music, water and night’ was the connecting thread running through this diverse collection of songs, performed by soprano Lucy Crowe and pianist Anna Tilbrook, but in fact there was little need to seek a unifying element for these eclectic works allowed Crowe to demonstrate her expressive range — and offered the audience the opportunity to hear some interesting rarities.

The Turn of the Screw, Holland Park

‘Only make the reader’s general vision of evil intense enough … and his own experience, his own imagination, his own sympathy … will supply him quite sufficiently with all the particulars.

Plenty of Va-Va-Vroom: La Fille du Regiment, Iford

It is not often that concept, mood, music and place coincide perfectly. On the first night of Opera della Luna’s La Fille du Regiment at Iford Opera in Wiltshire, England we arrived with doubts (rather large doubts it should be admitted)as to whether Donizetti’s “naive and vulgar” romp of militarism and proto-feminism, peopled with hordes of gun-toting soldiers and praying peasants, could hardly be contained, surely, inside Iford’s tiny cloister?

OPERA TODAY ARCHIVES »

Reviews

Christopher Purves as Protector, Bejun Mehta as Boy and Barbara Hannigan as Agnès  [Photo © 2012 ROH/Stephen Cummiskey]
10 Mar 2013

George Benjamin: Written on Skin

George Benjamin's Written on Skin sinks deeply into the psyche. A Protector wants brightly coloured images to display his power and wealth.

George Benjamin: Written on Skin

The Boy : Bejun Mehta, The Protector : Christopher Purves, The Woman : Barbara Hannigan, Marie/Angel : Victoria Simmonds, John/Angel : Alan Clayton, Conductor: George Benjamin, Diirector : Katie Mitchell, Sets : Vicki Mortimer, Lighting : Jon Clark. Royal Opera House, London. 8th March 2013

Above: Christopher Purves as Protector, Bejun Mehta as Boy and Barbara Hannigan as Agnès [Photo © 2012 ROH/Stephen Cummiskey]

 

He is a megalomaniac brute who thinks he can control everything in his domain from the fruit on his trees to his wife's "obedient body". The Boy dutifully creates exotic images of "azurite and gold" on precious parchment, meticulously executed in fine detail.

Medieval art wasn't representational. Stylized depictions were meant to suggest concepts, not literality. Medieval art and modern art have more in common than we realize! Uneducated as she is, The Woman intuits that art can take on meaning of its own. Images can lie, yet also reveal eternal truths.

This, no less, may be what Written on Skin is about, despite the sensational narrative. It operates on several levels at the same time. Ostensibly the action takes place in a medieval manor house. The Protector thinks wealth will buy him eternity. A thousand years later, the lands he knew have been obliterated by "Saturday car parks" and multi lane highways. Even the Occitan has been absorbed into France. In this exquisitely poetic libretto, by Martin Crimp, past and future are superimposed on each other, reinforcing the idea that worldly certainities are impermanent. Things change, but artistic vision is timeless.

This sense of duality operates throughout the opera. The Protector thinks he controls everything around him. The Boy thinks that being an aritst (and presumably a monk) protects him from earthly engagement. Both are trumped by The Woman who wants the Boy to paint a a ""real woman" with passions and eyes that "grow black with love". The boy can see the flecks of gold in her grey eyes, but his eyes, too, turn black. The Protector sees the painting and suspects. The Boy lies to protect the Woman, but she's having no more subterfuge. "I am Agnès" she cries, "I am not a child!"

Benjamin's Written on Skin is a departure from the 19th century idea of what opera should be. Despite the vaguely modern set, and very modern music, Written on Skin is much closer to the medieval approach to art. The narrative is oblique, despite the barbarism in the plot. We cannot, and should not, impose our own ideas on what the Middle Ages "should" be. "Wild primroses and the slow torture of prisoners" as the Boy sings in Act One. Crimp's text is exquisite allegory. Poetry doesn't operate like prose : overstated literalism would kill the gossamer magic.

Thus Benjamin's music operates as poetry, elusively, obliquely, but with enough passion to make the drama progress even when the words seem static. Illustrations in medieval manuscripts depict cataclysmic scenes as if they're suspended in time. Perhaps in a past incarnation Benjamin painted illuminations, where detail is captured with surreal intensity. Although Benjamin's writing makes a virtue of ambiguity, his orchestration is stunningly pure and clear textured. Low timbred strings like double basses, and a viola de gamba, high pitched keening woodwinds, a glass harmonica and an unusual percussion section which includes bongoes, a whip and Indian tablas. This replicates the clean outlines of medieval illumination : no muddy shadows, but intense, unnatural colour. The percussion also suggests the vigour and simplicity of early music. We can "hear" the musicians of the Occitan in the sophisticated Royal Opera House orchestra. It's curiously unsettling, but perfectly in keeping with the opera. Benjamin himself conducted.

As in their previous opera, Into the Little Hill, Benjamin and Crimp use indirect speech. Phrases like "Said the Boy", or "Said the Woman", are embedded to the text, intensitfying the unsettling sense of allegory. Yet character is very well defined. The Boy and the Woman are playing the roles the Protector wants them to enact. Their long, wailing lines with strange distorted syntax suggest the stylization of mystery plays, or even Greek chorus. Individual words are gloriously embroidered and illuminated, so they shine out from the background of undulating rhythms.

Bejun Mehta sings the Boy, his countertenor at once disturbing and beautiful. Barbara Hannigan sings the Woman, her part even more demanding because the personality develops so dramatically. It is she who is the catalyst for action. As the Woman sits bowed but uncowed, Hannigan's voice expresses the frustration the Woman cannot articulate. When she suddenly pounces on the Boy, Hannigan's voice explodes with sexual tension : animal-like but desperate. She throws herself at her husband who, despite his macho image, can't cope with her being anything other than "pure and clean". At this point, Benjamin's music for the singers changes. The Protector (Christopher Purves) now gets the long, wailing legato, where previously his music erupted in short, brutal staccato. Now Agnès has the short, punchy lines and spits them out with new-found assertiveness.

When the Protector kills the Boy, we can hear his compromised feelings in the music. Is the Protector himself secretly attracted to the Boy? Purves sings with a strange tenderness suggesting that the Protector might be killing his own desires. Agnès is fed a meat pie. "How does it taste"? sings her husband. She understands the horrible truth. "I shall never, never, never get the taste out of my mouth" she sings, her voice reaching heights of horror, her lines once again stretching out in extended wailing.

Mehta appears as an Angel, surrounded by other angels who had also appeared as Marie and John, Agnès's sister and brother-in-law, now supposedly dead. Victoria Simmonds and Alan Clayton sang the roles. The Boy is now a protagonist in a painting, no longer man but immortalized as a work of art. Just as he had paiinted a woman falling, suspended in mid-air, Hannigan mounts the stairs at the side of the stage and disappears, followed by a group of retainers moving in slow motion. We don't need to see her fall. We already know. "Art" has become "life".

I'm not generally a fan of Katie Mitchell, but her directing in this was very perceptive. She and her designers Vicki Mortimer and Jon Clark have made split level sets something of a signature, but in Written on Skin the style works well with the meaning. Most of the action takes place, claustrophobically, in one room. The other rooms on other levels show the world that goes on outside the trapped manse. Perhaps the Boy is a quintessential Artist, who consciously enters other worlds when he creates a work of art ? He leaves his street clothes behind when he enters the Protectors's realm. Later, he's dressed by attendants so he can become The Angel. Perhaps it's a subtle reference to the relationship between artist and patron, as well as to the relationship between art and artist.

Written on Skin is only Benjamin's second opera. His first, Into the Little Hill, also to texts by Martin Crimp. was a highly condensed chamber opera about which I've written extensively. Read more HERE. Since Benjamin was hitherto a miniaturist, who worked slowly because he took such meticulous care, I was concerned how he'd write a full scale opera for a large house like the Royal Opera House and the seven other houses in which it is touring, I needn't have worried. Working with Martin Crimp seems to have stimulated Benjamin to new levels of creativity. Although Written on Skin is stylized and abstract, it is inherently dramatic on its own terms. Dare I say it, but I do feel that this will be one of the defining operas of the early 21st century, because it is so visionary.

George Benjamin's Written on Skin will be broadcast (audio only) on BBC Radio 3 on 22nd June.

Anne Ozorio

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):