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

Samuel Coleridge-Taylor (1905)
03 Aug 2013

Coleridge Taylor: The Song of Hiawatha, Three Choirs Festival

The Song of Hiawatha, Samuel Coleridge-Taylor at Gloucester Cathedral, highlight of this year's Three Choirs Festival.

Samuel Coleridge-Taylor: The Song of Hiawatha

A review by Anne Ozorio

The Three Choirs Festival, Gloucester Cathedral, England, 1st August 2013

 

The Three Choirs Festival is the world's oldest music festival. For over three hundred years, the choirs of the cathedrals of Gloucester, Hereford and Worcester have been coming together to sing.

In many ways, British music was defined by the Three Choirs Festival well into the mid 20th century: it is the epicentre of a grand tradition. Hearing Coleridge-Taylor's Hiawatha in Gloucester Cathedral was significant, because the Festival was instrumental in bringing the composer to prominence. While still a student, Coleridge-Taylor came to the attention of Alfred Jaeger and Edward Elgar. The Three Choirs Festival gave him his first big commission in 1897, on the express recommendation of Elgar. Hiawatha's Wedding Feast followed soon after, then the full Song of Hiawatha we were privileged to hear. By the age of 25, Coleridge-Taylor was a resounding success.

Coleridge-Taylor is sometimes called "The Black Mahler" but it's a silly marketing gimmick. It's musically illiterate. Coleridge-Taylor didn't conduct opera and didn't write symphonies. The Song of Hiawatha sits firmly in the oratorio tradition. If anything, Coleridge-Taylor was the "Black Elgar". The Three Choirs Chorus sang with such fervour that the Elgarian aspects of the score shone with great conviction, even if the words were a little indistinct. But what joy it must have been for them to tackle this strange, almost hypnotic chant, and words like Pau-puk-Keewis, Chibiabos, Shaugodaya, Kuntassoo and Iagoo! Hiawatha is a Grand Sing and needs to be done on this grand scale.

The soloists stand forth from the chorus. Twenty years ago, Bryn Terfel sang the baritone part for the Orchestra of the Welsh National Opera, under William Alwyn. He was brilliant, defining the whole piece with his presence, all the more striking because he sounded so young, No-one could compare, though Benedict Nelson did his best. Robin Tritschler sang the tenor part, negotiating the cruelly high cry "Awake ! my beloved" with ease. Hye-Youn Lee sang the soprano part with exceptional freshness and vitality. She's a singer we should be hearing a lot more of.

Orchestrally, The Song of Hiawatha is rousing. London's Philharmonia Orchestra played for Peter Nardone as if they were playing grand opera. The horn call that introduces the piece and runs throughout suggested Wagner. Both Siegfried and Hiawatha are Noble Savages, setting out on voyages of discovery. The pounding timpani, however, suggest the type of drums white people assumed Red Indians would play. They also anchor the orchestra in a way percussion would not perhaps control symphonic form for many years to come. The Song of Hiawatha is oratorio, but also influenced by new European influences. Englishmen didn't really write opera until Peter Grimes in 1948. The Philharmonia were much livelier and more vivid than the WNO Orchestra on the recording.

Although Hiawatha hands his people over to missionaries to be civilized, it doesn't sit well with the pious religious values of its time. Even Elgar's The Dream of Gerontius, completed two years after Hiawatha's Wedding Feast, was considered racy in many circles because of its Catholic connections. But Hiawatha is important, not just for its exotic subject. Coleridge-Taylor may have chosen Longfellow's text because of its unique syntax, imitating the repetitive chant of oral traditions. "By the shores of Gitchee Gumee, by the shining Big Sea Water". Even the strange names come over like incantation. For a musician, this syntax translates into musical form. Coleridge-Taylor adapts the syntax into short rhythmic cells. Coleridge is experimenting, tentatively, with new form. How he would have responded to Stravinsky, to Picasso, to Diaghilev and to Ravel!

There are lyrical passages in Hiawatha that evoke the freshness and wonder of Dvorák's Symphony From the New World, written only five years before, and definitely "new" music. Yet Coleridge-Taylor's style is distinctively his own. At this stage, Vaughan Williams, though slightly older, was still under the thumb of Charles Villiers Stanford and Delius was yet to find himself. Unlike, say, Granville Bantock, whose exoticism operated like fancy dress costume, Coleridge-Taylor absorbed alien ideas into his very artistic core. He listened to Black American music and adapted to create something original. Years later Bartók would turn to Hungarian folk music to create new music, but Coleridge-Taylor was well on the way earlier. Perhaps he was attracted to Black music as a kind of atavistic quest for identity, since he never knew his father. But every time he looked in the mirror he must have been reminded that part of who he was remained a mystery. Vaughan Williams's later discovery of English folk song seems very tame in comparison.

When Coleridge-Taylor collapsed and later died, on Croydon Railway Station in 1912, aged only 37, British music lost a true original, perhaps, even, its greatest hope after Elgar. Although he should not be judged by the colour of his skin, it's an inescapable part of what he means to us today in multicultural Britain. He's probably also influential in the United States where he was welcomed into the White House by the President, at a time when blacks entered only by the back door. When Coleridge-Taylor was born in 1875, being illegitimate was scandalous. Even though he wasn't "deprived", and there weren't enough Black people around for prejudice to develop beyond curiosity, Coleridge-Taylor would have had to live with other people's stereotypes, however veiled. So I hope we'll be able to get away from the British music ghetto and the "Black Mahler" cliché and respect Coleridge-Taylor in a wider music and social history context.

Coleridge-Taylor's The Song of Hiawatha from The Three Choirs Festival will be broadcast on BBC Radio 3 in September.

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):