Recently in Performances
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!
30 Sep 2013
Peter Grimes, Vladimir Jurowski
Vladimir Jurowski conducted a fascinating Peter Grimes with the London Philharmonic Orchestra at the Royal Festival Hall. Fascinating, because Jurowski finds things in Britten other conductors don't get in the first place. Jurowski approaches Britten as a composer, without the usual baggage of Britishness and Brittenish.
Jurowski makes us hear Britten as a composer who knew the music of his era and had much to say about the times he lived in. Britten was not provincial though he chose to live in Aldeburgh. Peter Grimes is by no means a "heritage museum" in music even if its inspiration was an 18th century text.
Jurowski's Passacaglia and Sea Interludes reveal Britten as a composer in the wider European context: grand, majestic gestures, as Romantic in the best sense of the word, but emotionally intense with a very modern edge. Peter Grimes was Britten's first mature opera and arguably the first real British opera, so it's important to hear it in this context. Britten knew the music of his time. The orchestration is huge in comparison to Britten's later works. There are even references to American popular music, such as in the Act Three scene in the pub. Britten, who knew more about America than most Suffolk fisherfolk, was obliquely commenting on social change. For change is at the heart of Peter Grimes.
Grimes is persecuted by pious hypocrites, determined to condemn him on principle. All around Aldeburgh, there are ruined churches, destroyed by fanatics in the Reformation. Witch hunts weren't so far in the past. Whatever Grimes may or may not have done, there are those in the Borough who need an outlet for the poison in their own souls. Perhaps there are subtexts in this opera linked to Britten's sexuality, or to his relationship with the conservative music establishment (qv Gloriana) but Peter Grimes is an opera which protests blind obedience to conformity. Anniversary years like this smother genuine knowledge under a fire blanket of banal cliché. All the more reason to respect Jurowski, even though the concert was part of the South Bank's anodyne The Rest Is Noise marketing.
Stuart Skelton's Peter Grimes is a breath of fresh air. Because Grimes is inarticulate, it doesn't mean that the role should be sung with neutral colour. The clarity of Skelton's timbre suggests Grimes's intelligence. Like his apprentices, he might have been forced into his line of work without choice. Skelton sang "Now the Great Bear and Pleaides" with such elegant purity that I thought of Captain Vere, the real hero of Billy Budd. Strength, for Britten, isn't physical prowess so much as emotional integrity. Audiences might like their Britten characters safer and more comfortable, but Skelton shows where the real potential in the role might lie.
Some excellent support from Brindley Sherratt (Swallow), whose shimmy with the Nieces ((Malin Christensson and Elizabeth Cragg) was low down and dirty yet hilarious at the same time. Nice to hear levity in a bass. Alan Opie was a good Balstrode and Mark Stone a very convincing Ned Keene. If that leather jacket cost thousands, it gave him an authentic swagger. The main female roles, Ellen Orford (Pamela Armstong), Auntie (Pamela Helen Stephen), and Mrs Sedley (Jean Rigby) could have been done with more bite, but to some extent, Britten wasn't at his best creating women. Mrs Sedley, though, can benefit from being done malevolently. There's vicious camp humour in "Murder most horrid", where trombones slither like snakes. If nothing else in this anniversary year, we should learn to recognize Britten's incisive sense of humour.
Singers have to show character and interact even in semi-stagings and concert performances. If anything, good Personenregie is even more important in semi-stagings and concert performances. One of the reasons I like minimal productions is that they focus attention on the performers themselves, not on the decor. The director was Daniel Salter who directed an excellent Die Entführung aus dem Serail at Garsington Opera at Wormsley..Alex Doidge-Green's designs were excellent. The LPO were roped in, partly to shield them from the movement of the singers on a cramped stage, but also symbolically. When Skelton rolled up the rope, he released the Peter Grimes, heading towards fate.
Cast and production information:
Peter Grimes: Stuart Skelton, Ellen Orford: Pamela Armstrong, Captain Balstrode: Alan Opie, Auntie: Pamela Helen Stephen, Nieces: Malin Christensson, Elizabeth Cragg, Bob Boles: Michael Colvin, Swallow: Brindley Sherratt, Mrs Sedley: Jean Rigby,Ned Ke3ene: Mark Stone, Rev. Adams: Brian Galliford, Hobson: Joanathan Veira, London Voiuces, London Philharmomnic Orchestra, Conductor: Vladimir Jurowski, Director: Daniel Slater, Designer: Alex Doidge-Green, Lighting: Tim Mascall. Royal Festival Hall, London 28th September 2013.