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.
A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure, this new production presents the plot as the dying protagonist’s feverish hallucinations. The result is a frosty retelling of what is arguably Puccini’s most hot-blooded opera. Musically, the performance also left much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang bergetar akan terhapus.” (“The transient cannot hold on to stars lost in the Milky Way; that which quivers will be erased.”) As soprano Tony Arnold sang these words of Tony Prabowo’s chamber opera Pastoral, with astonishingly crisp Indonesian diction, the first night of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
Manitoba Underground Opera took audiences on a journey — literally and figuratively — as it presented its latest installment of repertory opera between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.
Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.
San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).
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.