Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Santa Fe: Secondary Mozart in First Rate Staging

Impresario Boris Goldovsky famously referred to La finta giardiniera as The Phony Farmerette.

Regimented Daughter in Santa Fe

At Santa Fe Opera, Donizetti’s effervescent The Daughter of the Regiment can’t quite decide what it wants to be when it grows up.

Santa Fe’s Celebratory Jester

Santa Fe Opera noted a landmark two-thousandth performance in their distinguished history with a stylish new production of Rigoletto.

Sibelius Kullervo, BBC Proms, London

Why did Jean Sibelius suppress Kullervo (Op7, 1892)? There are many theories why he didn't allow it to be heard after its initial performance, though he referred to it fondly in private.

Aïda at Aspen

Most opera professionals, including the individuals who do the casting for major houses, despair of finding performers who can match historical standards of singing in operas such as Aïda. Yet a concert performance in Aspen gives a glimmer of hope. It was led by four younger singers who may be part of the future of Verdi singing in America and the world.

Prom 53: Shostakovich — Orango

One might have been forgiven for thinking that both biology and chronology had gone askew at the Royal Albert Hall yesterday evening.

Written on Skin at Lincoln Center

Three years ago I made what may have been my single worst decision in a half century of attending opera. I wasn’t paying close attention when some conference organizers in Aix-en-Provence offered me two tickets to the premiere of a new opera. I opted instead for what seemed like a sure thing: William Christie conducting some Charpentier.

La Púrpura de la Rosa

Advertised in the program as the first opera written in the New World, La Púrpura de la Rosa (PR) was premiered in 1701 in Lima (Peru), but more than the historical feat, true or not, accounts for the piece’s interest.

Pesaro’s Rossini Festival 2015

The 36th Rossini Opera Festival in Rossini’s Pesaro! La gazza ladra (1817), La gazzetta (1816) and L'inganno felice (1812) — the little opera that made Rossini famous.

Santa Fe: Placid Princess of Judea

Unlike the brush fire in a distant neighborhood of the John Crosby Theatre, Santa Fe Opera’s Salome stubbornly failed to ignite.

Airy and Bucolic Glimmerglass Flute

As part of a concerted effort to incorporate local color and resonance into its annual festival, Glimmerglass has re-imagined The Magic Flute in a transformative woodland setting.

Glimmerglass Conquers Cato

Bravura singing and vibrant instrumental playing were on ample display in Glimmerglass Festival’s riveting Cato in Utica.

Energetic Glimmerglass Candide

Bernstein’s Candide seems to have more performance versions than Tales of Hoffmann.

Die Eroberung von Mexico in Salzburg

That’s The Conquest of Mexico, an historical music drama composed in 1991 by German composer Wolfgang Rihm (b. 1952). But wait. Wolfgang Rihm construed a few sentences of Artaud’s La Conquête du Mexique (1932) mixed up with bits of Aztec chant and bits of poem(s) by Mexico’s Octavio Paz (d. 1998) to make a libretto.

Scottish Sensation at Glimmerglass

Glimmerglass is celebrating its 40th Festival season with a stylish new production of Verdi’s Macbeth.

Norma in Salzburg

This Salzburg Norma is not new news. This superb production was first seen at the Salzburg Festival’s springtime Whitsun Festival in 2013 with this same cast. It will now travel to a few major European cities.

The power of music: a young cast in a semi-stage account of Monteverdi’s first opera

John Eliot Gardiner conducted a much anticipated performance of Monteverdi’s first opera L’Orfeo at the BBC Proms on 4 August 2015, with his own Monteverdi Choir and English Baroque Soloists.

Cold Mountain Wows Audience at Santa Fe World Premiere

On August 1, 2015, Santa Fe Opera presented the world premiere of Cold Mountain, a brand new opera composed by Pulizer Prize and Grammy winner Jennifer Higdon.

Manon Lescaut, Munich

Puccini’s Manon Lescaut at the Bayerische Staatsoper, Munich. Some will scream in rage but in its austerity it reaches to the heart of the opera.

Proms Saturday Matinée 1

It might seem churlish to complain about the BBC Proms coverage of Pierre Boulez’s 90th anniversary. After all, there are a few performances dotted around — although some seem rather oddly programmed, as if embarrassed at the presence of new or newish music. (That could certainly not be claimed in the present case.)

OPERA TODAY ARCHIVES »

Performances

Photo by Mahogany Opera
08 Jul 2013

Britten’s Curlew River and The Prodigal Son

Poised between ritual and drama, between East and West, between Zen-Buddhist symbolism and Christian medieval morality play, Britten’s three church parables pose some tricky problems — including a deliberately objectivised framing device which can distance the work from the audience, and, unusually for Britten, some less than effective musico-dramatic pacing.

Britten’s Curlew River and The Prodigal Son

A review by Claire Seymour

Above photo by Mahogany Opera

 

So, it is perhaps not surprising that the triptych is rarely performed as a unified entity.

This triple bill, performed over two nights, by Mahogany Opera directed by Frederic Wake-Walker was therefore a welcome proposition. Commencing their tour in Russia, at the Hermitage and the Church of St Catherine in St Petersburg (presumably because the former was where Britten and Pears first saw the Rembrandt painting, ‘The Prodigal Son’, which inspired the third parable), Mahogany have since visited the venue of the first production, Orford Church Aldeburgh, and will conclude their performances in Buxton in mid-July.

The long, narrow nave of Southwark Cathedral was the venue for this round of performances, as part of the City of London Festival — a suitably solemn setting, especially as these interpretations emphasised the sombre, religious gravity of the works.

Curlew River , performed on Wednesday 3rd July, transfers the narrative of the Japanese Nō play, Sumidagawa. A Noblewoman, driven made by grief when her son is kidnapped, comes to a ferry. The Ferryman refuses to take her across to the shrine on the further bank, until her despair moves him and the other pilgrims to feelings of guilt. During the journey, he relates the miracles that have occurred at the shrine, the grave of a young boy, and the Madwoman recognises that her son is the boy in these stories. Upon reaching the tomb, the mother is confronted by a vision of her child, and is relieved of her madness.

All the principals were on fine form. Samuel Evan’s Traveller’s Prayer was full of restive yearning; Rodney Earl Clarke’s Ferryman offered a moving counsel to the Madwoman to pray for her child.

But it was tenor James Gilchrist who was the musical and dramatic linchpin of these performances. From his opening, Grimes-like, fragmented cries, he was entirely in sympathy with the role of the Madwoman — and in tremendous voice, his vocal exclamations simultaneously dramatically agitated and vocally focused. The tenor soared in pitch and dynamic, at times angry, elsewhere full of doubts; this performance was an impressively controlled rendition of intense love and inner crisis.

Unfortunately, Gilchrist was draped from head to foot in an assemblage of dishevelled, grey rags which would not have disgraced a 1940s BBC ghost-costume department. Robert Tear — who was Pears’ understudy at the first performance — remembers Pears complaining, “Really, Ben, I just can’t work in this frock”, to which Ben replied to Colin Graham, “Oh for Christ’s sake, Colin, give her a crin”, but even the composer can’t have envisaged that such a clichéd visual statement of psychological distress was necessary. [1]

There was some assured playing from the small band of instruments, performing without a conductor, supported by Roger Vignoles’ well-shaped chamber organ accompaniment. Alex Jakeman’s flute flutter-tonguing perfectly complemented the unstable psyche of the Madwoman, and the glissandi and portamenti of the cadenza that accompanies her arrival at the ferry ramp, were expertly executed. The flute’s symbolic curlew cries were poignantly lyrical, and flute and voice came together affectingly during the mother’s sparse soliloquy before her son’s tomb. There was some warm, expressive playing from violist Max Baillie, and the percussive colours of the score were ably and evocatively executed by Scott Lumsdaine.

The following evening Gilchrist was similarly fine as the Lucifer-like Abbot-Tempter in The Prodigal Son, the most overtly ‘Christian’ of the three parables, and perhaps the ‘weakest’ in terms of musical concision and tightness. As the Abbot, addressing “people, listening here today”, he disturbingly intoned the disconcertingly simple modal line, “Do not think I bid you kneel and pray … I bring you no sermon/ What I bring you is evil”, accompanied by the liturgical resonances of the organ and exotic cymbal whisperings. As Gilchrist urged the Young Son to ‘Imagine, imagine/What you are missing. … High living, secret delights,/ And beauty, beauty/ To kindle your senses”, glistening harp textures (Tanya Houghton) and chilling double bass portamenti (Ben Griffiths) added a portentous sheen. The instrumentalists were technically assured throughout: during the journey to and arrival at the city, when the Young Son is accompanied on his path to dissolution by the Tempter, was marked by a virtuosic palette of striking orchestral colours.

Rodney Earl Clarke was a strong presence as the heartless Elder Son. John McMunn’s Young Son was full of persuasive self-confidence as he justified his desire for freedom, but this was replaced by a melancholy introversion and despair when he realised the extent of his errors, in a moving duet with the viola.

The over-riding sentiment throughout these performances was earnest solemnity, with the emphasis on the moral framework of the works, rather than their emotional or dramatic dimension.

Yet, despite some fine instrumental playing, an accurate and resonant Chorus of Pilgrims, and some arresting designs by Kitty Callister which were as economical yet impressive as Britten’s own orchestration, things felt just a little too controlled and repressed — the restless uneasiness which permeates the score was not always present.

Moreover, the elongated nave further distanced many of the audience from the action, and the acoustics of the venue played havoc with the text. On the first evening, I was seated at the rear of the nave, and the only singer whose words were on occasion audible was Gilchrist — and in this regard he was not helped by the rags which covered his head and face throughout the performance. Things improved when a front nave seat on the second evening permitted many more of the words to come through but, even so, the action still seemed overly remote.

The processionals and rituals certainly emphasised the renewal of faith which is achieved in each parable. But, the pace seemed overly ponderous, the choreography too stylised; it’s worth remembering that Britten himself express his concerns “lest the work should seem a pastiche of a Noh play, which however well done, would seem false and thin”. [2]

Exiting the dimly lit cathedral into the urban clutter of London Bridge Station and the Shard was a rather dislocating experience; mystic power gave way to modernity all too quickly.

Claire Seymour


Cast and production information:

James Gilchrist (tenor); Rodney Earl Clarke (bass); Samuel Evans (bass); Lukas Jakobski (bass); John McMunn (tenor); Frederic Wake-Walker (director); Roger Vignoles (musical director); Principal Players of Aurora Orchestra. Mahogany Opera. City of London Festival, Southwark Cathedral, Wednesday 3rd and Thursday 4th July 2013.

Notes:

[1] Humphrey Carpenter, Benjamin Britten: A Biography (Faber, 1982), p.430.

[2] Letter to William Plomer, 15 April 1959.

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):