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

Enchanting Tales at L A Opera

On March 24, 2017, Los Angeles Opera revived its co-production of Jacques Offenbach’s The Tales of Hoffmann which has also been seen at the Mariinsky Opera in Leningrad and the Washington National Opera in the District of Columbia.

Ermonela Jaho in a stunning Butterfly at Covent Garden

Ermonela Jaho is fast becoming a favourite of Covent Garden audiences, following her acclaimed appearances in the House as Mimì, Manon and Suor Angelica, and on the evidence of this terrific performance as Puccini’s Japanese ingénue, Cio-Cio-San, it’s easy to understand why. Taking the title role in the first of two casts for this fifth revival of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, Jaho was every inch the love-sick 15-year-old: innocent, fresh, vulnerable, her hope unfaltering, her heart unwavering.

Brave but flawed world premiere: Fortress Europe in Amsterdam

Calliope Tsoupaki’s latest opera, Fortress Europe, premiered as spring began taming the winter storms in the Mediterranean.

New Sussex Opera: A Village Romeo and Juliet

To celebrate its 40th anniversary New Sussex Opera has set itself the challenge of bringing together the six scenes - sometimes described as six discrete ‘tone poems’ - which form Delius’s A Village Romeo and Juliet into a coherent musico-dramatic narrative.

La voix humaine: Opera Holland Park at the Royal Albert Hall

Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.

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.

OPERA TODAY ARCHIVES »

Performances

20 Jul 2013

Stockhausen at the BBC Proms

The Royal Albert Hall was made for Karl-Heinz Stockhausen. BBC Prom 11 2013 featured Gesang der Jünglinge and Welt-Parliament from Mittwoch from Licht.

The Royal Albert Hall is an imposing building, designed on a grand scale. It is built in an unusual circular shape, which can cause acoustic problems. But it's ideal for Karllheinz Stockhausen's grand visions. The BBC Proms have done Gruppen four times, despite the logistics posed by the use of three orchestras. In 2008, there was an astounding Cosmic Pulses, the 13th Hour from Klang. Stockhausen sculpted sound. At the Royal Albert Hall, he had a huge canvas onto which he could project his experiments. The shape of the building means that sound waves have to travel longer distances than they might in a smaller auditorium. As they bounce off the walls and reverberate, the sound changes, becoming ever more subtle. Architecture becomes a component of performance.

In Gesang der Jünglinge (1955/6), the performers "are" the audience.The "music" happens when an audience processes the aural stimuli around them. The building goes dark. What's happening? Is the show over, one might ask? Slowly, out of the gloom emerge disembodied sounds, coming from many different, unexpected directions. The "performer" is a recording of a young boy, made many decades ago. He's an old man now, but on the tape he's immortal: another Stockhausen concept. The tape is spliced into myriad fragments and reconstituted into something completely different. Gesang der Jünglinge is the great great great grandfather of DJ mixes. Once Stockhausen himself adjusted the balances and frequencies at the mixing desk. Now his disciple Kathinka Pasveer does the sound projection. Stockhausen decreed that the stage should remain empty but for a few desks, to emphasize the idea that performance isn't something passive, but as blend of what's happening at the sound desk and what we hear, wherever we might be seated in the performance space.

Gesang der Jünglinge is based on a story in the biblical Book of Daniel, where three youths are condemned to die in a fiery furnace. But they're saved by their faith. In a heatwave, the Royal Albert Hall becomes a furnace. So the audience experiences the piece as all-round sensory endurance, in a way no-one could have imagined. The oscillating electronic sound waves quiver like flames. When disjointed words leap out “Sonne, Mond, Mund…..Frost und Eis, Frost und Eis”., we feel life-restoring deliverance just as the youths in the furnace might have felt. Karlheinz Stockhausen, wherever he is, must have been looking down with glee.

Last year, the Birmingham Opera Company produced the first complete UK performance of Mittwoch from Stockhausen's grand saga Licht. For this Prom 11 in 2013, the singers, Ex Cathedra, with Jeffrey Skidmore (director), recreated the first scene, Welt-Parliament. It was a good choice because the segment focuses on the variety of voices and vocal techniques. This is an extension of Stockhausen's concept of breaking sound into cells, reconstituting them into something new. Stockhausen is also deconstructing the idea of language.We hear words from recognizable languages, and randomly-generated noise. Just as in life, our task as listeners is to process for ourselves what we hear, not to take things as given. There are allusions to chorale, complete with liturgical bells, and red herrings, like when a man in a reflective jacket who materializes from the back of the Royal Albert Hall and calls out about a car with a number plate MITT2013WCH (!) Eventually, a consensus of sorts emerges. "Licht!" most of the singers conclude. The singers file out gravely. One remains "And now the next scene will follow" he says, but you have to decipher because he stutters to an extreme degree. Yet again, Stockhausen's breaking sound into minute fragments, so we have to really listen, not sit by passively and coast.

Although we're not likely to catch the complete 30 hour Licht anywhere soon, by studying fragments like this in detail, we can put together something of the whole, bit by bit. Indeed I wonder if Stockhausen meant for us to listen in this way, cell by cell, in random order. In conventional opera we follow a narrative where time and meaning are compressed. Stockhausen's approach replicates the way we experience real life. We put our own narratives together by listening and re-listening, backwards and forwards in time.

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):