Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

J. C. Bach: Adriano in Siria

At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme each season during the next 27 years to exploring the music by Mozart and his contemporaries which was being written and performed exactly 250 years previously.

Bethan Langford, Wigmore Hall

The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.

Tansy Davies: Between Worlds (world premiere)

An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.

Arizona Opera Ends Season in Fine Style with Fille du Régiment

On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.

Il turco in Italia, Royal Opera

This second revival of Patrice Caurier and Moshe Leiser’s 2005 production of Rossini’s Il Turco in Italia seems to have every going for it: excellent principals comprising experienced old-hands and exciting new voices, infinite gags and japes, and the visual éclat of Agostino Cavalca’s colour-bursting costumes and Christian Fenouillat’s sunny sets which evoke the style, glamour and ease of La Dolce Vita.

The Siege of Calais
——
The Wild Man of the West Indies

English Touring Opera’s 2015 Spring Tour is audacious and thought-provoking. Alongside La Bohème the company have programmed a revival of their acclaimed 2013 production of Donizetti’s The Siege of Calais (L’assedio di Calais) and the composer’s equally rare The Wild Man of the West Indies (Il furioso all’isola di San Domingo).

The Met’s Lucia di Lammermoor

Mary Zimmerman’s still-fresh production is made fresher still by Shagimuratova’s glimmering voice, but the acting disappoints

Voices, voices in space, and spaces: Thoughts on 50 years of Meredith Monk

When WNYC’s John Schaefer introduced Meredith Monk’s beloved Panda Chant II, which concluded the four-and-a-half hour Meredith Monk & Friends celebration at Carnegie’s Zankel Hall, he described it as “an expression of joy and musicality” before lamenting the fact that playing it on his radio show could never quite compete with a live performance.

St. John Passion by Soli Deo Gloria, Chicago

This year’s concert of the Chicago Bach Project, under the aegis of the Soli Deo Gloria Music Foundation, was a presentation of the St. John Passion (BWV 245) at the Harris Theater in Millennium Park.

Fedora in Genoa

It is not an everyday opera. It is an opera that illuminates a larger verismo history.

The Marriage of Figaro, LA Opera

On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.

The Tempest Songbook, Gotham Chamber Opera

Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to explore the possibilities of unconventional spaces and unconventional programs that the company has made its hallmark. The results were musically and theatrically thought-provoking, and left me wanting more.

San Diego Opera presents Adams’ Riveting Nixon in China

Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.

Ars Minerva presents Castrovillari’s La Cleopatra in San Francisco

It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.

An Ideal Cast in Chicago’s Tannhäuser

Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.

Madame Butterfly, Royal Opera

Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.

Tosca in Marseille

Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.

Poetry beyond words — Nash Ensemble, Wigmore Hall

The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.

Arizona Opera Presents Magritte Style Magic Flute

On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.

Henry Purcell: A Retrospective

There are some concert programmes which are not just wonderful in their execution but also delight and satisfy because of the ‘rightness’ of their composition. This Wigmore Hall recital by soprano Carolyn Sampson and three period-instrument experts of arias and instrumental pieces by Henry Purcell was one such occasion.

OPERA TODAY ARCHIVES »

Performances

Full cast of The Importance of Being Earnest [Photo © ROH / Stephen Cummiskey]
18 Jun 2013

The Importance of Being Earnest, Covent Garden

The Importance of Being Earnest , Gerald Barry’s fifth opera, was commissioned by the Los Angeles Philharmonic Orchestra and the Barbican, and was first performed in concert, Thomas Adès conducting the London premiere.

The Importance of Being Earnest, Covent Garden

A review by Mark Berry

Above: Full cast of The Importance of Being Earnest [Photo © ROH / Stephen Cummiskey]

 

This production marks the first London staging, though the honour of the first staging went to Nancy’s Opéra national de Lorraine. It may be considered a resounding success, perhaps all the more surprising given the paucity of worthwhile comic operas. (The inability of stage directors to distinguish between the comic and comedy as a form is one of the greatest banes of an opera-goer’s life, but let us leave that on one side for the moment.)

Barry may have studied with Stockhausen but it is his study with Mauricio Kagel that comes to mind here, in the work’s anarchic — though, in its compositional control decidedly not anarchistic — irreverence. An almost Dadaistic sensibility perhaps also brings to mind the Ligeti of Aventures and Nouvelles aventures; smashing of plates, forty of them, must surely offer a reference, perhaps even an hommage. Humour arises not just from Wilde’s play and what Barry does with or to it, but also from the interaction of ‘action’ and music, seemingly autonomous, until one has decided that it is definitely is, at which point it tempts one to think that it might have something in common with the text after all. Parody, for instance of Beethoven’s Ninth Symphony, whether its opening or the ‘Ode to Joy’, and of Auld Lang Syne, almost inevitably recalls Peter Maxwell Davies, but I am not sure that the method is actually so very similar. For one thing, it seems more to be the tunes themselves that in some strange sense are forming the drama; words at times follow Auld Lang Syne rather than vice versa, resulting in a cyclical process one might — or might not — consider to be a parody of serialism. (I did, but I have no idea whether that were intended.) Stravinskian motor-rhythms power the music along, until it stops — or are they still doing so? And just occasionally, the poster-paint aggression — or is it an affectionate parody thereof? — seems to melt into something more tender. But is that merely wish-fulfilment on the spectator’s part? Is the joke on the audience?

Ramin Gray’s production seems to operate in a similar or at least parallel fashion. There are interactions, for instance when the loudspeaker music plays from Algernon’s iPhone. And the action is cut, stopped, made to continue according to some ticking imperative. Moments impress, stick in the memory, for instance the case of co-ordinated tea-drinking. One begins to ask what they ‘mean’, but already knows or at least fears that one is asking the wrong question. Surrealism, or something like it, becomes genuinely funny. Or is it that the funny becomes genuinely surreal? Modern dress works well, banishing any thought that period ‘absurdity’ might heighten the farce, if that be what it is. For disjuncture, by its very nature, continues to bring us up short. Alienation, in work and in staging, both distances and yet brings us tantalisingly close. For, despite or even on account of the artificiality, one senses a deep humanity lying somewhere beneath. (Perhaps like Wilde; perhaps not.)

The Britten Sinfonia under Tim Murray proves at least an equal partner to the madness. Brashly rhythmic, lovingly precise, this is an estimable performance throughout from an ensemble whose versatility seems yet to extend itself with every year. That the players are called upon to shout and to stamp their feet almost seems expected. Paul Curievici impresses with great musicality as Jack Worthing, or whatever we want to call him, Benedict Nelson a bluff foil as Algie. Hilary Summers, surely as versatile an artist as the Britten Sinfonia, makes excellent use of her contralto range and tone as Miss Prism, with a splendidly complementary stage gawkiness. Stephanie Marshall’s Gwendolen and Ida Falk Winland’s Cecily shine on the mezzo and soprano fronts, the former often warmly lyrical, the latter seemingly effortless in the aggressively higher reaches of her range. Simon Wilding’s Lane and Merriman offer a nice hint of rebellion, nevertheless handsomely despatched. Meanwhile, Lady Bracknell is played by a bass, not in drag but in a suitably ghastly barrister pinstripe; Alan Ewing rises to the occasion, and somehow seems more real than much of the chaos around him. The cast, as the cliché has it, proves more than the sum of its parts, as is the performance as a whole, however awkward that fitting together or clashing of those parts may be.

Mark Berry


Cast and production information:

John Worthing: Paul Curievici; Revd Canon Chasuble: Geoffrey Dolton; Lady Brachnell: Alan Ewing; Gwendolen Fairfax: Stephanie Marshall; Algernon Moncrieff: Benedict Nelson; Miss Prism: Hilary Summers; Lane/Merriman: Simon Wilding; Cecily: Ida Falk WInland. Director: Ramin Gray; Associate Designer: Ben Clark (after an idea by Johannes Schütz); Lighting: Franz Peter David; Costumes: Christina Cunningham. Britten Sinfonia/Tim Murray. Linbury Studio Theatre, Royal Opera House, Covent Garden, London, Monday 17 June 2013.

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):