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

Daniel Michieletto's Cav and Pag returns to Covent Garden

It felt rather decadent to be sitting in an opera house at 12pm. Even more so given the passion-fuelled excesses of Pietro Mascagni’s Cavalleria Rusticana and Ruggero Leoncavallo’s Pagliacci, which might seem rather too sensual and savage for mid-day consumption.

Manitoba Opera: Madama Butterfly

Manitoba Opera opened its 45th season with Puccini’s Madama Butterfly proving that the aching heart as expressed through art knows no racial or cultural divide, with the Italian composer’s self-avowed favourite opera still able to spread its poetic wings across time and space since its Milan premiere in 1904.

Ian Bostridge and Julius Drake celebrate 25 years of music-making

In 1992, concert promoter Heinz Liebrecht introduced pianist Julius Drake to tenor Ian Bostridge and an acclaimed, inspiring musical partnership was born. On Wenlock Edge formed part of their first programme, at Holkham Hall in Norfolk; and, so, in this recital at Middle Temple Hall, celebrating their 25 years of music-making, the duo included Vaughan Williams’ Housman settings for tenor, piano and string quartet alongside works with a seventeenth-century origin or flavour.

Girls of the Golden West in San Francisco

Not many (maybe any) of the new operas presented by San Francisco Opera over the past 10 years would lure me to the War Memorial Opera House a second time around. But for Girls of the Golden West just now I would be there again tomorrow night and the next, and I am eagerly awaiting all future productions.

DiDonato is superb in Semiramide at Covent Garden

It’s taken a while for Rossini’s Semiramide to reach the Covent Garden stage. The last of the operas which Rossini composed for Italian theatres between 1810-1823, Semiramide has had only one outing at the Royal Opera House since 1887, and that was a concert version in 1986.

Philippe Jaroussky and Ensemble Artaserse at the Wigmore Hall

‘His master’s masterpiece, the work of heaven’: ‘a common fountain’ from which flow ‘pure silver drops’. At the risk of effulgent hyperbole, I’d suggest that Antonio’s image of the blessed governance and purifying power of the French court - in the opening scene of Webster’s The Duchess of Malfi - is also a perfect metaphor for the voice of French countertenor Philippe Jaroussky, as it slips through Handel’s roulades like a silken ribbon.

La Rondine Takes Flight in San Jose

Kudos to San Jose Opera for offering up a wholly winning, consistently captivating new production of Puccini’s seldom performed La Rondine.

Clonter Opera Gala

Clonter’s Opera Gala in the breath-taking beautiful ball-room at the Lansdowne Club in Mayfair was a glamorously glittering smattering of opera – which made me want to run out to every opera in town.  

A New Die Walküre at Lyric Opera of Chicago

From the start of Lyric Opera of Chicago’s splendid, new production of Richard Wagner’s Die Walküre conflict and resolution are portrayed throughout with moving intensity. The central character Brünnhilde is sung by Christine Goerke and her father Wotan by Eric Owens.

As One a Haunting Success in San Diego

San Diego Opera has mined solid gold with its mesmerizing and affecting production of As One, a part of their innovative ‘Detour Series.’

OLF: Songs by Tchaikovsky, Anton Rubinstein, Rachmaninov and Georgy Sviridov

Compared to the oft-explored world of German lieder and French chansons, the songs of Russia are unfairly neglected in recordings and in the concert hall. The raw emotion and expansive lyricism present in much of this repertoire was clearly in evidence at the Holywell Music Room for the penultimate day of the celebrated Oxford Lieder Festival.

Stockhausen’s STIMMUNG and COSMIC PULSES at the Barbican.

This concert was an event on several levels - marking a decade since the death of Stockhausen, the fortieth anniversary (almost to the day) since Singcircle first performed STIMMUNG (at the Round House), and their final public performance of the piece. It was also a rare opportunity to hear (and see) Stockhausen’s last completed purely electronic work, COSMIC PULSES - an overwhelming visual and aural experience that anyone who was at this concert will long remember.

Nico Muhly's Marnie at ENO

Winston Graham’s 1961 novel Marnie was bold for its time. Its themes of sexual repression, psychological suspense and criminality set within the dark social fabric of contemporary Britain are but outlier themes of the anti-heroine’s own narrative of deceit, guilt, multiple identities and blackmail.

TOSCA: A Dramatic Sing-Fest

On November 12, 2017, Arizona Opera presented Giacomo Puccini’s verismo opera, Tosca, in a dramatic production directed by Tara Faircloth. Her production utilized realistic scenery from Seattle Opera and detailed costumes from the New York City Opera. Gregory Allen Hirsch’s lighting made the set look like the church of St. Andrea as some of us may have remembered it from time gone by.

The Lighthouse: Shadwell Opera at Hackney Showroom

‘Only make the reader’s general vision of evil intense enough … and his own experience, his own imagination, his own sympathy … and horror … will supply him quite sufficiently with all the particulars. Make him think the evil, make him think it for himself, and you are released from weak specifications.’

Elisabeth Kulman sings Mahler's Rückert-Lieder with Sir Mark Elder and the Britten Sinfonia

Austrian singer Elisabeth Kulman has had an interesting career trajectory. She began her singing life as a soprano but later shifted to mezzo-soprano/contralto territory. Esteemed on the operatic stage, she relinquished the theatre for the concert platform in 2015, following an accident while rehearsing Tristan.

Tremendous revival of Katie Mitchell's Lucia at the ROH

The morning sickness, miscarriage and maundering wraiths are still present, but Katie Mitchell’s Lucia di Lammermoor, receiving its first revival at the ROH, seems less ‘hysterical’ this time round - and all the more harrowing for it.

Manon in San Francisco

Nothing but a wall and a floor (and an enormous battery of unseen lighting instruments) and two perfectly matched artists, the Manon of soprano Ellie Dehn and the des Grieux of tenor Michael Fabiano, the centerpiece of Paris’ operatic Belle Époque found vibrant presence on the War Memorial stage.

A beguiling Il barbiere di Siviglia from GTO

I had mixed feelings about Annabel Arden’s production of Il barbiere di Siviglia when it was first seen at Glyndebourne in 2016. Now reprised (revival director, Sinéad O’Neill) for the autumn 2017 tour, the designs remain a vibrant mosaic of rich hues and Moorish motifs, the supernumeraries - commedia stereotypes cum comic interlopers - infiltrate and interact even more piquantly, and the harpsichords are still flying in, unfathomably, from all angles. But, the drama is a little less hyperactive, the characterisation less larger-than-life. And, this Saturday evening performance went down a treat with the Canterbury crowd on the final night of GTO’s brief residency at the Marlowe Theatre.

Brett Dean's Hamlet: GTO in Canterbury

‘There is no such thing as Hamlet,’ says Matthew Jocelyn in an interview printed in the 2017 Glyndebourne programme book. The librettist of Australian composer Brett Dean’s opera based on the Bard’s most oft-performed tragedy, which was premiered to acclaim in June this year, was noting the variants between the extant sources for the play - the First, or ‘Bad’, Quarto of 1603, which contains just over half of the text of the Second Quarto which published the following year, and the First Folio of 1623 - no one of which can reliably be guaranteed superiority over the other.

OPERA TODAY ARCHIVES »

Performances

Ian Bostridge [Photo © Ben Ealovega]
22 Aug 2013

Prom 51: Tippett, Britten & Elgar

This programme of twentieth-century British music burst dazzlingly into life with the blazing flourishes of Michael Tippett’s Fanfare No.5, arranged by Meirion Bowen from music drawn from the composer’s oratorio, The Mask of Time.

Prom 51: Tippett, Britten & Elgar

A review by Claire Seymour

Above: Ian Bostridge [Photo © Ben Ealovega]

 

It was a fitting choice with which to open a Promenade concert dedicated to the late Sir Colin Davis, who conducted the premiere of Tippett’s monumental oratorio in 1984, and who was to have returned to the Royal Albert Hall on this occasion, the scene of so many unforgettable Proms performances under his baton.

Replacing Davis, who sadly died earlier this year, Daniel Harding led fourteen members of the London Symphony brass section, plus two percussionists, in a vibrant performance in which the knotty dialogues between the contending voices were crisply delineated before melding satisfyingly in an expansive, homophonic surge towards the triumphant cadence.

This air of confidence and optimism was sustained in the subsequent Concerto for Double String Orchestra — a mood all the more remarkable when one remembers that the work was composed during 1938-1939 as war loomed ever more inevitably. Moreover, the young composer, perhaps more prone to cerebral intellectualism than outpourings of positivism, was himself only slowly forging his own language, hesitantly moving towards musical certainties.

There was certainly nothing tentative about the exuberant contrapuntal outbursts which heralded the first movement. The string players of the LSO delivered Tippett’s flamboyant rhythms with dynamic directness and a fresh, clean tone, as Harding sought to maintain clarity of texture as the flexible lines interwove and danced. Perhaps it was a somewhat too charming and genteel; I would have like a little more boisterousness to balance the lyricism. And, while Harding capably managed the transitions between the many contrasting episodes, more might have been made of the surprising, and wonderful, dovetailing of the end of the fugal section with the return of the main theme.

In the Adagio cantabile Harding placed more emphasis on the adagio than cantabile. The conductor took a risk not only with the tempo, but also with the dynamics, resisting the temptation to let the arching lines grow and swell, restraining the strings to a mezzo piano. The expansive tempo and quiet delicacy resulted in a pathos that was almost Mahlerian, but in a hall of these vast dimensions some of the intensity of the impact was lessened.

The third movement resumed the work’s propulsive energy; again, Harding’s textures were refined and lucid, and leader Carmine Lauri’s opening solo delightfully sweet, as major and minor modes piquantly intertwined. The Northumbrian bagpipe melody which inspired the closing passages was full of grace and air.

The work references a panoply of musical styles and forms — the contrapuntalism of Renaissance polyphony, the Baroque concerto grosso, Beethovenian sonata structures, the anticipatory rhythms and blue notes of jazz, the modality of British folk-song — and while Harding combined these into a pleasing whole he did not quite synthesise the polyphonic debates which drive the music relentlessly forward.

Benjamin Britten’s song cycle, Les Illuminations, also written in 1939, had rather more bite and a challenging tartness. Selecting and ordering some of the poems from French poet Arthur Rimbaud’s eponymous collection — texts very different to the English poetry that the composer had typically set in his songs of the 1930s — Britten seems to have relished the extravagant idiosyncrasies of the, at times, self-indulgent poetry, with its exotic, sensual imagery expressing the young poet’s defiance, excitement and elation in the face of the exhilarating potential of modernity and new frontiers.

Ian Bostridge was totally in tune with the rebellious theatricality, bordering on the surreal, of Britten’s inventive settings. In this commanding performance not one word of Rimbaud’s fragmented, often bizarre, phrases was overlooked or unconsidered. Bostridge’s voice has acquired a greater range and substance at the bottom of late — not ‘weight’ exactly, but an enriching of the colour and timbre — and every gesture was audible, throughout the dynamic spectrum. Often Rimbaud plays with sounds, the onomatopoeic echoes, swishes and crunches serving as a kind of erotic grammar, and Bostridge was unfailingly alert to the way Britten exploits the resonances of the words, confidently articulating the complex linguistic snatches. In this regard, the tenor was well-supported by Harding and the string players of the LSO; the on-going instrumental discourse was full of diverse colours and shades, at times assuming precedence over the voice but never engulfing the vocal utterances.

The tonal arguments of the opening ‘Fanfare’ were deftly settled by Bostridge’s assertive pronouncement, ‘J’ai seul la clef de cette parade sauvage’ (Only I have the key to this wild parade), although the thoughtful decrescendo on the final word hinted prophetically at the changes to come, and subsequent repetitions of this refrain invoked darker moods.

‘Villes’, depicting the bustle of city life, was blithely light, the rushing string lines seeming almost airborne, punctuated by gripping pizzicati, until Bostridge relaxed the pace at the close, as the singer has what Britten described as a ‘prayer for a little peace’. The close of the short and pensive ‘Phrase’ — ‘Des chaînes d’or d’étoile à étoile, et je danse’ — floated dreamily, high above the low cellos. Typical in its orchestral diversity and invention, ‘Antique’ was noteworthy for the dry languorous rhythms of the inner strings which provided a mysterious accompaniment to the simple fanfare-like vocal melody and the soft brushing pizzicati of the close.

Bostridge was exuberantly assertive in ‘Royauté’ and despatched the virtuosic twists and runs of ‘Marine’ with ease. The descending, interlacing string figures of ‘Interlude’ and the darkened repetition of the work’s opening line, led to a sensuous, intense rendition of ‘Being Beauteous’ (dedicated to ‘P.N.L.P.’ — Peter Pears), the erotic imagery of the ardent vocal declamation elucidated by the harmonic richness of the strings.

Bostridge totally immersed himself in this work, musically, emotionally and physically, at times leaning (dangerously?) far backwards, elsewhere thrusting his hands nonchalantly in his pockets, sometimes fixing his eye confrontationally on the audience. Willing to throw caution to the winds, Bostridge gave a technically flawless account, the arresting characterisation absolutely convincing. It is hard to imagine a better performance of Britten’s thrilling song-cycle.

Elgar’s Second Symphony, composed in 1911, is a dark and enigmatic work, its inward emotional narrative intermittently exposed but never unambiguously revealed. The composer called it ‘the passionate pilgrimage of a soul’ and it is often regarded as a signature work. Colin Davis’ 2002 recording with the LSO won accolades and a host of awards but here Harding, though offering a sensitive reading alert to the details of timbre, did not quite have the measure of the symphony’s emotional sweep. Ironically, originally Sir Colin Davis was to have conducted the 2 nd Symphony of Sibelius, whose final symphony Harding performed with the Mahler Chamber Orchestra earlier in the Proms season.

The opening of the first movement, with its proud thematic statement, signalled Harding’s appreciation of the majestic nobility of the work but the tempi throughout were on the slow side. While it is true that time and space is needed for the resolution of the complex and changeable harmonic relationships, Harding was less successful in managing the volatile changes of tempo and mood which create forward drive and impulsion (Elgar’s own recordings are characterised by numerous shifts, sometimes violent, sometimes subtle, and dramatic, frequent use of rubato).

The slow movement was passionate and refined, the moments of hushed meditation touchingly gentle; an exquisite oboe solo injected an air of tender nostalgia. But, overall there was a sense of reserve, not exactly aloofness but rather a coolness or formality, as if the emotional depths were not being plummeted.

The racing scherzo, by contrast, wickedly transformed the theme of the first movement into a nightmarish vision of horror, and there was plenty of pomp and majesty in the final ‘Moderato e maestoso’, although here again the recapitulation did not fully achieve a sense of liberating affirmation. But, the final bars were wonderfully contemplative and whispered; a shame, then, that the spell-binding silence that Harding desired was shattered by overly hasty, impatient applause.

Claire Seymour


Programme and production information:

Tippett: The Mask of Time — Fanfare No. 5, Concerto for Double String Orchestra; Britten: Les illuminations; Elgar — Symphony No. 2 in E flat major. Ian Bostridge, tenor; Daniel Harding, conductor; London Symphony Orchestra. Royal Albert Hall, London, Tuesday, 20th August 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):