Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

ETO Autumn 2020 Season Announcement: Lyric Solitude

English Touring Opera are delighted to announce a season of lyric monodramas to tour nationally from October to December. The season features music for solo singer and piano by Argento, Britten, Tippett and Shostakovich with a bold and inventive approach to making opera during social distancing.

Love, always: Chanticleer, Live from London … via San Francisco

This tenth of ten Live from London concerts was in fact a recorded live performance from California. It was no less enjoyable for that, and it was also uplifting to learn that this wasn’t in fact the ‘last’ LfL event that we will be able to enjoy, courtesy of VOCES8 and their fellow vocal ensembles (more below …).

Dreams and delusions from Ian Bostridge and Imogen Cooper at Wigmore Hall

Ever since Wigmore Hall announced their superb series of autumn concerts, all streamed live and available free of charge, I’d been looking forward to this song recital by Ian Bostridge and Imogen Cooper.

Treasures of the English Renaissance: Stile Antico, Live from London

Although Stile Antico’s programme article for their Live from London recital introduced their selection from the many treasures of the English Renaissance in the context of the theological debates and upheavals of the Tudor and Elizabethan years, their performance was more evocative of private chamber music than of public liturgy.

A wonderful Wigmore Hall debut by Elizabeth Llewellyn

Evidently, face masks don’t stifle appreciative “Bravo!”s. And, reducing audience numbers doesn’t lower the volume of such acclamations. For, the audience at Wigmore Hall gave soprano Elizabeth Llewellyn and pianist Simon Lepper a greatly deserved warm reception and hearty response following this lunchtime recital of late-Romantic song.

The Sixteen: Music for Reflection, live from Kings Place

For this week’s Live from London vocal recital we moved from the home of VOCES8, St Anne and St Agnes in the City of London, to Kings Place, where The Sixteen - who have been associate artists at the venue for some time - presented a programme of music and words bound together by the theme of ‘reflection’.

Iestyn Davies and Elizabeth Kenny explore Dowland's directness and darkness at Hatfield House

'Such is your divine Disposation that both you excellently understand, and royally entertaine the Exercise of Musicke.’

Paradise Lost: Tête-à-Tête 2020

‘And there was war in heaven: Michael and his angels fought against the dragon; and the dragon fought and his angels, And prevailed not; neither was their place found any more in heaven … that old serpent … Satan, which deceiveth the whole world: he was cast out into the earth, and his angels were cast out with him.’

Joyce DiDonato: Met Stars Live in Concert

There was never any doubt that the fifth of the twelve Met Stars Live in Concert broadcasts was going to be a palpably intense and vivid event, as well as a musically stunning and theatrically enervating experience.

‘Where All Roses Go’: Apollo5, Live from London

‘Love’ was the theme for this Live from London performance by Apollo5. Given the complexity and diversity of that human emotion, and Apollo5’s reputation for versatility and diverse repertoire, ranging from Renaissance choral music to jazz, from contemporary classical works to popular song, it was no surprise that their programme spanned 500 years and several musical styles.

The Academy of St Martin in the Fields 're-connect'

The Academy of St Martin in the Fields have titled their autumn series of eight concerts - which are taking place at 5pm and 7.30pm on two Saturdays each month at their home venue in Trafalgar Square, and being filmed for streaming the following Thursday - ‘re:connect’.

Lucy Crowe and Allan Clayton join Sir Simon Rattle and the LSO at St Luke's

The London Symphony Orchestra opened their Autumn 2020 season with a homage to Oliver Knussen, who died at the age of 66 in July 2018. The programme traced a national musical lineage through the twentieth century, from Britten to Knussen, on to Mark-Anthony Turnage, and entwining the LSO and Rattle too.

Choral Dances: VOCES8, Live from London

With the Live from London digital vocal festival entering the second half of the series, the festival’s host, VOCES8, returned to their home at St Annes and St Agnes in the City of London to present a sequence of ‘Choral Dances’ - vocal music inspired by dance, embracing diverse genres from the Renaissance madrigal to swing jazz.

Royal Opera House Gala Concert

Just a few unison string wriggles from the opening of Mozart’s overture to Le nozze di Figaro are enough to make any opera-lover perch on the edge of their seat, in excited anticipation of the drama in music to come, so there could be no other curtain-raiser for this Gala Concert at the Royal Opera House, the latest instalment from ‘their House’ to ‘our houses’.

Fading: The Gesualdo Six at Live from London

"Before the ending of the day, creator of all things, we pray that, with your accustomed mercy, you may watch over us."

Met Stars Live in Concert: Lise Davidsen at the Oscarshall Palace in Oslo

The doors at The Metropolitan Opera will not open to live audiences until 2021 at the earliest, and the likelihood of normal operatic life resuming in cities around the world looks but a distant dream at present. But, while we may not be invited from our homes into the opera house for some time yet, with its free daily screenings of past productions and its pay-per-view Met Stars Live in Concert series, the Met continues to bring opera into our homes.

Precipice: The Grange Festival

Music-making at this year’s Grange Festival Opera may have fallen silent in June and July, but the country house and extensive grounds of The Grange provided an ideal setting for a weekend of twelve specially conceived ‘promenade’ performances encompassing music and dance.

Monteverdi: The Ache of Love - Live from London

There’s a “slide of harmony” and “all the bones leave your body at that moment and you collapse to the floor, it’s so extraordinary.”

Music for a While: Rowan Pierce and Christopher Glynn at Ryedale Online

“Music for a while, shall all your cares beguile.”

A Musical Reunion at Garsington Opera

The hum of bees rising from myriad scented blooms; gentle strains of birdsong; the cheerful chatter of picnickers beside a still lake; decorous thwacks of leather on willow; song and music floating through the warm evening air.

OPERA TODAY ARCHIVES »

Performances

Scene from <em>Elena</em> [Photo by Pascal Victor]
23 Jul 2013

Elena and The House Taken Over

That’s Helen (of Troy) by Cavalli, so maybe you are interested after all, though the more engaging experience was The House Taken Over by Vasco Mendonça.

Elena and The House Taken Over at the Aix Festival

A review by Michael Milenski

Above: Scene from Elena [Photo by Pascal Victor]

 

In a festival dominated by Elektra directed by Patrice Cheréau, Don Giovanni directed by Dimitri Tcherniakov and Rigoletto directed by Robert Carson gratefully a place was found for a new opera. It was a commission by the Aix Festival through its Académie Européen de Musique to young (34 years old) Portuguese composer Vasco Mendonça (by comparison the Mozart of Don Giovanni was 31).

The Aix Festival gave the new opera a substantial production by the esteemed British director Katie Mitchell who last summer imagined a brilliant production of British composer George Benjamin’s Written on Skin for Aix (since seen at the Nederlandse Oper and at Covent Garden). Sig. Mendonça is in fact a student of George Benjamin who was a student of Britten and Messiaen.

The libretto was contrived by British dramaturge Sam (short for Samantha) Holcroft on a novella by Argentine novelist Julio Cortázar. Cortázar emigrated from Argentina to France in 1951 when he was 36 years old. His muses were surrealism, improvisation and stream-of-consciousness. He translated Edgar Allen Poe into Spanish.

You get the idea — traditional genres and dramatic attitudes are out the window though Aristotelian unities were zealously respected. A brother and sister clean then eat and read in a room of an old house. Mysterious noises frighten them, so they transfer the same activities to another room where the same thing occurs. They take these activities onto the front doorstep where the sister realizes she must use a bathroom. They leave the house to embark on new lives.

The libretto in this production did no more than provide composer Mendonça with a structure on which to expound infinite combinations of tones, colors and rhythms that sometimes directly applied to the story telling, but mostly just percolated along as what seemed to be notated improvisation, or rather invention.

THE-HOUSE-409.gifScene from The House Taken Over [Photo by Patrick Berger]

The Asko Schönberg Ensemble from the Netherlands was here comprised of two violins, two violas, one cello, one bass, one flute, two clarinets, two trumpets, one trombone plus a myriad of percussion choices presided over by one virtuoso player (Joey Marijs). Etienne Stiebens was the production’s chef d’orchestra. One musical delight followed another in an astonishing array of variation elaborated by these instruments.

Fortunately the grandstand seating at the outdoor Domaine du Grand St. Jean gave us full view into the pit where the evening’s excitement took place. Plenty of it. Cerise sur le gâteau: the trumpeters at the finale abandoned their horns in favor of Melodicas (plastic keyboard harmonicas).

Director Katie Mitchell with her scenographer, British theater designer Alex Eales, shied away from the surrealism of the novella opting to evoke a commentary on the insignificant and suffocating, narrow lives of the English petite bourgeoisie. The production did not take us into the attractive sonic world of Sig. Mendonça’s music nor into the subtle philosophic atmospheres felt by an Argentine intellectual based in mid twentieth century Paris.

The Aix Festival provided two quite able, young British singers, mezzo soprano Kitty Whately and baritone Oliver Dunn, both done up to try to look dull middle-aged. These fine young artists managed the undistinguished narrative style delivery of text with crystal clear English diction, and veered into the opera’s very occasional ariosos with vocal gusto. It is not an opera about voices.

This talented young composer may yet find his operatic way, after all Richard Strauss was 41 before he hit his operatic stride with the Salome libretto by Von Hofmannsthal. Perhaps Mr. Mendonça should look beyond British theatrical forces.

Elena aka The Abduction of Helen by Cavalli is of course not about Helen of Troy even though it says it is. It is really about racy attitudes towards sex and marriage in 17th century Venice. All of Venice had been excommunicated when Cavalli was four years old, not for its free and easy morality but rather because this rich city had the confidence to ignore playing by rules imposed by others. Elena, the thirty-second of his forty one or so operas, is also about playing harmlessly outside the rules, those of restraint or civilized conduct in particular.

The operas that have made Cavalli famous these days — L’Ormindo, La Calisto and L’Erismena — are all earlier in the Cavalli oeuvre and exemplify the easy charm of stories about deities falling in and out of love with doses of sincerity here and there. Cavalli turned out Elena at age 57 when he was at the height of his fame (the next year Louis XIV lured him to Paris with a special, high tech theater built just for his Ercole Amante). At this point it was easy, too easy for Cavalli to make an opera. Elena seems far too contrived, and perhaps it is an opera best forgotten.

ELENA-109.gifScene from Elena [Photo by Patrick Berger]

Like all Cavalli operas Elena has a big cast of characters, all with lots to do. Casting is sophisticated at the Aix Festival, and with rare exception true to character and voice and with rare exception indifferent to fame. At the same time the Aix Festival knows the virtues and financial rewards of encouraging young artists. Thus the large cast was comprised of talented young singers all of whom were well nurtured indeed by the opera world’s elaborate and extensive apprentice system.

There was therefore a uniformity of relatively high level talent and technical ability. This was the limitation of the cast. Cavalli’s characters were created by generic, well trained young singers rather than by mature or finished artists with specific traits that qualify them to bring artistic life to human character. Those few with hints of greater artistry fell victim to a generic apprentice atmosphere of promise rather than accomplishment.

The production was in the Festival’s tiny Théâtre du Jeu de Paume, a relic in the Italian horseshoe style that is perfect for Baroque opera. It was staged by Jean-Yves Ruf, a young French theater pedagogue with acting credentials as well, in a stage space that resembled a bull ring in the first half and a macramé fantasy in the second. The scenery and costumes were fashionable, generic theatre designs that probed “look” rather than depth. It was a long, very long evening.

Ten members of Ambronay’s (a town between Lyon and Geneva) early music ensemble Capella Mediterranea plucked, sawed and tooted in finest, informed period style, led by its founder of Argentine origin and Swiss training, Leonardo Garciá Alarcón.

With the cost of tickets at one half that for major productions at the Aix Festival, productions like Elena and The House Over Taken open the festival to a larger public, those unable or unwilling to bear the $300 plus cost of a ticket for Don Giovanni or Elektra.

Michael Milenski


Casts and Production:

The House Taken Over

Brother: Oliver Dunn; Sister: Kitty Whately. Asko | Schönberg Ensemble conducted by Etienne Siebens. Mise en scène: Katie Mitchell; Scenery: Alex Eales; Lighting: James Farncombe. Domaine du Grand St. Jean, July 11, 2013.

Elena

Elena/Venere: Emöke Barath; Menelao: Valer Barna-Sabadus; Teseo: Fernando Guimaraes; Ippolita/Pallade: Solenn' Lavanant Linke; Peritoo: Rodrigo Ferreira; Iro: Emiliano Gonzalez Toro; Menesto/La Pace: Anna Reinhold; Tindaro/Nettuno: Scott Conner; Erginda/Giunone/Castore: Mariana Flores; Eurite/La Verita: Majdouline Zerari; Diomede/Creonte: Brendan Tuohy; Euripilo/La Discordia/Polluce: Christopher Lowrey; Antiloco: Job Tomé. Cappella Mediterranea conducted by Leonardo García Alarcón. Mise en scène: Jean-Yves Ruf; Scenery: Laure Pichat; Costumes : Claudia Jenatsch; Lighting: Christian Dubet. Théâtre du Jeu de Paume, July 17, 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):