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

London Handel Festival: Handel's Faramondo at the RCM

Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.

Brahms A German Requiem, Fabio Luisi, Barbican London

Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.

Káťa Kabanová in its Seattle début

The atmosphere was a bit electric on February 25 for the opening night of Leoš Janàček’s 1921 domestic tragedy, and not entirely in a good way.

Festival Mémoires in Lyon

Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).

Christoph Prégardien and Julius Drake at the Wigmore Hall

The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.

La Tragédie de Carmen at San Diego

On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).

Kasper Holten's farewell production at the ROH: Die Meistersinger von Nürnberg

For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.

AZ Musicfest Presents Mendelssohn's Italian Symphony and Leoncavallo's Pagliacci

The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.

Premiere: Riders of the Purple Sage

On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.

English Touring Opera Spring 2017: a disappointing Tosca

During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.

Matthias Goerne : Mahler Eisler Wigmore Hall

A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.

A Merry Falstaff in San Diego

On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.

New Production of Mozart’s The Magic Flute at Lyric Opera, Chicago

In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.

A Salome to Remember

Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.

L’Elisir d’Amore Goes On Despite Storm

On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.

Boris Godunov in Marseille

There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.

Bartoli a dream Cenerentola in Amsterdam

With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.

Winterreise : a parallel journey

Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.

Anna Bolena in Lisbon

Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.

Oh, What a Night in San Jose

It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.

OPERA TODAY ARCHIVES »

Performances

Thomas Adès at the Proms [Photo by Chris Christodoulou courtesy of BBC]
19 Jul 2013

Prom 8: Adès’ Totentanz

This remarkably cohesive programme of works by Britten, Lutoslawski and Adès was underpinned by a dark intensity; tragic realism interwoven with transient intimations of hope.

Prom 8: Adès’ Totentanz

A review by Claire Seymour

Above: Thomas Adès at the Proms [Photo by Chris Christodoulou courtesy of BBC]

 

A tightly controlled and startlingly vehement rendition of Britten’s Sinfonia da Requiem opened the Prom, Adès pacing and crafting the three movements in a reading of the score which made a more than usually convincing case for the work. With clarity and precision, the conductor revealed extremes of colour, texture and weight. An intimate but disconsolate ‘Lachrymose’, was followed by a cynical, fleet-footed ‘Dies Irae’, the flute flutter-tonguing pounded by the mocking onslaught of the percussion. The conclusion of the ‘Requiem aeternam’ was beautifully affecting, as Adès found both serenity and sorrow in the return of the fragmented plainchant with which the work begins.

A similar disturbing combination of anguish and restraint characterised Paul Watkin’s magnificent performance of Lutoslawki’s Cello Concerto. From the quiet, monotonous pulses of the long cello solo which commences the work, Watkins kept the undoubtedly powerful emotional resonances of the work on a tight rein, only occasionally allowing the latent ‘suffering’ expressed in Lutoslawski’s intangible musical narrative to be released. Harmonics and glissandi were delicately transparent; strident pizzicato passages were delivered with directness and authority. Adès too focused more on the score’s detailed colourings than on its dynamic heaviness, allowing the cello to be an equal partner with the full orchestral forces, never struggle to articulate. The third movement cantilena was exquisitely lyrical but offered only a temporary repose before the furious rhythmic energy of the final movement welled up, driving the work to its wild conclusion.

In the second half of the programme, Adès conducted the world premiere of his own Totentanz, commissioned by Robin Boyle in memory of Lutoslawski and his wife, Danuta.

Adès’ musical portrait of a ‘Dance of Death’ draws its inspiration from a visual source: a 30-metre-long painted hanging, made in 1463 for the church of St Mary in the German Baltic city of Lübeck, which depicts Death linking hands with a cross-section of individuals, addressing each with his message of unavoidable doom.

In Totentanz, Death, a baritone (Simon Keenlyside) invites in turn a succession of human representatives - including Pope, Emperor, Cardinal, King, Monk, Usurer, Merchant and Parish Clerk - to join his inescapable and deadly dervish, delighting that, ‘When I come, great and small,/ no grieving helps you’. A soprano (Christianne Stotijn) adopts the diverse mortal roles, voicing their resignedly acquiescent replies as they cast off their worldly garb and accept their earth-bound fate. But Death is indifferent to their mortal weakness, ignoring their pitiful laments and turning disdainfully to the next recipient of his solicitation. In this way, Adès avoids a static interplay of invitation and response, creating a tense dialogue and a whirling, accumulating momentum which sucks us into a vortex of unstoppable energy.

At the start, the Preacher invites rich and poor, young and old, to ‘come to see the play’, and the work does have an inherently theatrical quality. Adès asks a great deal of his ‘players’, and the two vocal soloists rose to the challenges negotiating, singly and in duet, the angular, wide-ranging melodies with supreme assurance (although they were amplified - one wonders whether they could have risen above the panoply of percussive pounding without it, or conveyed the text so crisply).

Stotijn found a remarkable range of colours and moods to convey the various human ‘voices’, complemented by an ever-changing orchestral landscape - for example, lyrical gesturing from the violins accompanies the Pope’s submission, while the Cardinal’s mellifluous pleading is complemented by the high timbre of the flute juxtaposed with a grumbling bass. And, the composer avoids repetitiveness by varying Death’s proposition each time. Thus, Death’s proposals - sung with seductive charm by Keenleyside, mingled with imperious contempt - ‘duet’ with a range of instruments and groupings; trembling double bass as he addresses the Emperor, a repetitive pattern played by the celli when his words are directed at the King, a dialogue with trombones as the Monk is called to the dance.

Adès’ timbral invention, his ability to find new, astonishing orchestral colours, should not surprise. One thinks of the piano’s ethereal trembling in Darknesse Visible, or the startling bass oboe melody in Asyla, the latter also making use of cowbells and quarter-tone-flat piano. Here he calls upon an eight-strong percussion team to paint a kaleidoscopic canvas.

From the opening screeches of the piccolo, the astringent harmony, asymmetrical rhythms and percussive outbursts establish the grim reality which inevitably erodes and destroys human aspiration. As the dance proceeds across an increasingly wide harmonic and timbral expanse, an unstoppable accretion of dissonance builds up - almost painfully - culminating in an orchestral apocalypse, like a sonic black hole of terrifying magnificence and appalling horror.

Then, when our capacity for aural assault is totally depleted, the catastrophic silence is gently broken by more tender strains; as Death turns to the lower echelons of the social hierarchy, a gentler, more sentimental mood ensues. The Parish Clerk’s pianissimo melody is hauntingly beautiful and sorrowful. Following the Handworker, Peasant and Maiden, the Child is Death’s last ‘victim’, but now the invitation is more comforting, ‘Til the last day, sleep now: sleep on, consoled’. With the Child’s poignant, unsettling response, ‘O Death, how can I understand?/ I cannot walk, yet I must dance!’, the score hints at a cleansing, major tonality, the harmony and sound-world intimating a quasi-Mahlerian transfiguration. Ultimately the music slips into darkness, the dark, sunken tones of timpani and tuba recalling the spirit of the conclusion of the ‘requiem’ which opened the concert and, to this listener at least, the call of the sea which invites Peter Grimes and Aschenbach to their respective deaths.

In a NYT article, Richard Taruskin praised Adès’ ‘precocious technical sophistication and [an] omnivorous range of references’. In Totentatz these qualities are startlingly evident: the soundscape blends the new and the familiar in a score which first challenges the listener with its visceral impact - inflicting a savage aural and emotional battering - and then salves with bitter-sweet harmonic succour. Despite its emotional directness, the work retains an intriguing, enticing ambiguity.

Claire Seymour


This concert is available for a further five days on BBC Radio 3 online at http://www.bbc.co.uk/programmes/b036vvk0 ; it will be broadcast on BBC 4 on 28th July.

Production and cast information:

Britten, Sinfonia da Requiem Op.20; Lutoslawski, Cello Concerto; Adès, Totentanz; Paul Watkins, cello; Christianne Dtotijn, mezzo-soprano; Simon Keenlyside, baritone; Thomas Adès, conductor; BBC Symphony Orchestra. Royal Albert Hall, London, Wednesday, 17th July 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):