27 Aug 2013
Prom 57: Wagner — Parsifal
Prom 57’s Parsifal (Mark Elder, the Hallé) brought us John Tomlinson, perhaps the greatest Wagnerian bass of our time.
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.
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.
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.
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.
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.
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.
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.
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.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no less than seven concerts in this season’s NTR ZaterdagMatinee series feature works by Adams, including this concert version of his first opera, Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the Royal Concertgebouw, Daniele Gatti, came together for their first engagement in a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and Wiener Philharmoniker, to hear these three top orchestra perform their series programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
Prom 57’s Parsifal (Mark Elder, the Hallé) brought us John Tomlinson, perhaps the greatest Wagnerian bass of our time.
Gurnemanz is one of his signature roles. Now, he might bark, but he still doesn’t “park”. Age skills are enhanced by age, not diminished.
When Titurel sounds in better vocal health than Gurnemanz, it’s worrying. But Gurnemanz is probably even older than Titurel. John the Baptist knew nothing of Christianity but baptised Jesus himself. Like John the Baptist, John Tomlinson’s Gurnemanz recognizes who Parsifal must be and anoints his mission. Tomlinson now portrays Gurnemanz as an Ancient, a witness to primeval mysteries that long predated formal religion. An Erda in male form!
The part is also huge, bigger even than Parsifal’s in many ways. Tomlinson still has stamina and stage presence, even if he makes us wince at his dry, constricted croaks, though they’re arguably in character. Tomlinson’s just back from singing The Green Knight in Sir Harrison Birtwistle’s Gawain in Salzburg. He’s tired, but he’s still giving us pointers in how to channel Gurnemanz. This Proms Parsifal was something to cherish because Tomlinson made us “feel” Gurnemanz’s soul, still idealistic, despite the ravages of time.
Katarina Dalayman’s Kundry, in contrast, was uncommonly seductive. Waltraud Meier’s wild animal Kundry remains a tour de force, defining the role at its most savage, but Dalayman’s more womanly portrayal is perfectly valid, bringing out the more human, vulnerable side of the role. This is important, for in Parsifal, Wagner reprises themes that persist throughout his career: motherhood, or the lack thereof, the distortion of sexual and family relationships, inter-generational power struggles and basic body fluids. Kundry is an outsider because she’s a sexual being in a repressed society. Dalayman blends the natural warmth of her voice with forceful delivery, so her crescendi rang out , reaching into the furthest recesses of the Royal Albert Hall. At times, she almost sounds like a Verdi heroine. But it’s a perfectly valid interpretation, which would benefit from a sympathetic staging which deals with the psycho-sexual emotional thickets that underpin the portentious pseudo-religiosity which has dominated Parsifal interpretation.
In Parsifal, there are three different Parsifals, just as there are three different Wotans in the Ring. We can’t gauge the whole Wotan from either manifestation. It’s a mistake to expect Parsifal to be glowing and luminous from the start . Like most Wagner heroes, he goes through a process of change. Lars Cleveman achieved this transition well. In the first Act, Parsifal’s a young Siegfried, instinctive and almost animal. He kills the swan because he knows no better. Lars Cleveman’s sturdy physicality suits this Parsifal . He’s cocky, confident and even sexy in a quirky way: a good foil for Dalayman’s mother/seducer Kundry. The second act brought forth the best singing of the evening, even from Tomlinson. Yet Wagner springs a surprise in the end. Once Parsifal is mature and takes on his mission, he doesn’t actually sing all that much. The mystical splendour of transfiguration comes from the orchestra. The Divine Presence is in the music. Parsifal kneels and listens, in awe.
And so to Mark Elder and the Hallé. We don’t hear them enough in London, and they’re very distinctive. The music in the first act is notoriously hard to pull off. Haitink, for example, stretched the tempi so one could feel the comatose Grail community, so desiccated that it’s become fossilized. But inertia and dramatic thrust don’t sit naturally together. Elder’s approach allowed details to be heard, such as the sour wail of the brass. One of the percussionists leaned onto her timpani to dampen the sound. With a huge orchestra and several choirs, this act must be a beast to conduct. Elder held the orchestra back, giving prominence to Tomlinson’s long monologue. But the overall effect was more symphonic than operatic. Fortunately, once the drama got going, the playing gained pace. Klingsor’s magic castle was nicely conjured up. Theologically. Klingsor is off the wall. His battle with Amfortas is kinky, when you really think of it. But the scene sets the tone for the Parsifal/Kundry dialogue, so central to the deeper meaning of the opera.
The Hallé showed their real strengths in the Third Act, where music even dominates the singing. The orchestra evoked the complex images in the narrative. Parsifal’s on a mysterious journey, whose nature we don’t really know. The angularity in the music cuts against the dream-like chromaticism, suggesting pain and suffering. The Knights are dying. The Hallé express the savagery without the need for words. They were splendid in the Good Friday music, augmented by metallic “Parsifal bells” resonating into space. Despite the Communion imagery in the text, these shouldn’t sound “churchy”. Good Friday is the one time in the Christian year when the Mass is not celebrated and communion not re-enacted on site. Wagner created new instruments for a purpose.The original “bells” used in Bayreuth in Wagner’;s time were huge cyclinders. The Hallé used a more modern version, which resonated through the vast auditorium.
Detlev Roth replaced Iain Patterson at short notice. I was pleased, because Roth is highly regarded and experienced in a broad repertoire, other than Wagner. His voice has more natural colour than a traditional Wagnerian, so he sang Amfortas with more flexibility that we associate with the part. There are a lot of heavy low voices in this opera, and Roth’s relative brightness was different, but not wrong. Picking Roth was a wise choice. He was an interesting counterbalance to Tomlinson’s Gurnemanz of the Ages.
Cast and production information:
Parsifal : Lars Cleveman, Kundry : Katarina Dalayman, Gurnemanz : Sir John Tomlinson, Amfortas : Detlev Roth, Klingsor : Tom Fox, Titurel: Reinhard Hagen, Knights: Robert Murray, Andrew Greenan, Flower Maidens : Elizabeth Cragg, Anita Watson, Sarah Castle, Ana James, Anna Devin, Squire/Voice from above/Flower Maiden : Madeleiene Shaw, Squires : Joshua Ellicott, Andrew Rees, Trinity Boys Choir, Hallé Youth Choir, Royal Opera Chorus, Hallé, Conductor : Sir Mark Elder, Stage Director : Justin Way. Royal Albert Hall, London, 25th August 2013.