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.
Bampton Classical Opera’s 2014 double bill neatly balanced drollery and gravity. Rectifying the apparent prevailing indifference to the 300th centenary of Christoph Willibald Gluck birth, Bampton offered a sharp, witty production of the composer’s Il Parnaso confuso, pairing this ‘festa teatrale’ with Ferdinando Bertoni’s more sombre Orfeo.
Harry Christophers and The Sixteen Choir and Orchestra launched the Wigmore Hall’s two-year series, ‘Purcell: A Retrospective’, in splendid style. Flexibility, buoyancy and transparency were the watchwords.
It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’
On September 13, Los Angeles Opera opened its 2014-2015 season with a revival of Marta Domingo’s updated, Art Deco staging of Giuseppe Verdi’s La traviata. It starred Nino Machaidze as Violetta, Arturo Chácon-Cruz as Alfredo, and Plácido Domingo as Giorgio Germont. The conductor was Music Director James Conlon.
In its annual concert previewing the forthcoming season Lyric Opera of Chicago presented its “Stars of Lyric Opera at Millennium Park” during the past weekend to a large audience of enthusiastic listeners.
Come to think of it the 1950‘s were operatically rich years in America compared to other decades in the recent past. Just now the San Francisco Opera laid bare an example, Carlisle Floyd’s Susannah.
Nicholas Hytner’s production of Handel’s Xerxes (Serse) at English National Opera (ENO) is nearly 30 years old, and is the oldest production in ENO’s stable.
On Friday evening September 5, 2014, tenor Stephen Costello and soprano Ailyn Pérez gave a recital to open the San Diego Opera season. After all the threats to close the company down, it was a great joy to great San Diego Opera in its new vibrant, if slightly slimmed down form.
English National Opera’s 2014-15 season kicked off with an ear-piercing orchestral thunderbolt. Brilliant lightning spears sliced through the thick black night, fitfully illuminating the Mediterranean garret-town square where an expectant crowd gather to welcome home their conquering hero.
It is now three and a half years since Anna Nicole was unleashed on the world at the Royal Opera House, Covent Garden.
It was a Druid orgy that overtook the War Memorial. Magnificent singing, revelatory conducting, off-the-wall staging (a compliment, sort of).
There was a quasi-party atmosphere at the Wigmore Hall on Monday evening, when Joyce DiDonato and Antonio Pappano reprised the recital that had kicked off the Hall’s 2014-15 season with reported panache and vim two nights previously. It was standing room only, and although this was a repeat performance there certainly was no lack of freshness and spontaneity: both the American mezzo-soprano and her accompanist know how to communicate and entertain.
In strict architectural terms, the stupendous 2nd century Roman theatre of Aspendos near Antalya in southern Turkey is not an arena or amphitheatre at all, so there are not nearly as many ghosts of gored gladiators or dismembered Christians to disturb the contemporary feng shui as in other ancient loci of Imperial amusement.
Simon Rattle and the Berlin Philharmonic Orchestra brought their staging of Bach's St Matthew Passion to the BBC Proms at the Royal Albert Hall on Saturday, 6 September 2014.
Every so often an opera fan is treated to a minor miracle, a revelatory performance of a familiar favorite that immediately sweeps all other versions before it.
On August 30, Los Angeles Opera presented the finals concert of Plácido Domingo’s Operalia, the world opera competition. Founded in 1993, the contest endeavors to discover and help launch the careers of the most promising young opera singers of today. Thousands of applicants send in recordings from which forty singers are chosen to perform live in the city where the contest is being held. Last year it was Verona, Italy, this year Los Angeles, next year London.
The second day of the Richard Strauss weekend at the BBC Proms saw Richard Strauss's Elektra performed at the Royal Albert Hall on 31 August 2014 by the BBC Symphony Orchestra, conducted by Semyon Bychkov, with Christine Goerke in the title role.
Triumphant! An exceptionally stimulating Mahler Symphony No 2 from Daniel Harding and the Swedish Radio Symphony Orchestra, BBC Prom 57 at the Royal Albert Hall. Harding's Mahler Tenth performances (especially with the Berliner Philharmoniker) are pretty much the benchmark by which all other performances are assessed. Harding's Mahler Second is informed by such an intuitive insight into the whole traverse of the composer's work that, should he get around to doing all ten together, he'll fulfil the long-held dream of "One Grand Symphony", all ten symphonies understood as a coherent progression of developing ideas.
The BBC Proms continued its Richard Strauss celebrations with a performance of his first major operatic success Salome. Nina Stemme led forces from the Deutsche Oper, Berlin,at the Royal Albert Hall on Saturday 30 August 2014,the first of a remarkable pair of Proms which sees Salome and Elektra performed on successive evenings
On August 9, 2014, Santa Fe Opera presented a new updated production of Don Pasquale that set the action in the 1950s. Chantal Thomas’s Act I scenery showed the Don’s furnishing as somewhat worn and decidedly dowdy. Later, she literally turned the Don’s home upside down!
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.