Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Dolora Zajick Premieres Composition

At a concert in the Cathedral of Saint Joseph in San Jose, California, on August 22, 2014, a few selections preceded the piece the audience had been waiting for: the world premiere of Dolora Zajick’s brand new composition, an opera scene entitled Roads to Zion.

Santa Fe Opera Presents Huang Ruo's Sun Yat-sen

By emphasizing the love between Sun Yat-sen and Soong Ching-ling, Ruo showed us the human side of this universally revered modern Chinese leader. Writer Lindsley Miyoshi has quoted the composer as saying that the opera is “about four kinds of love.” It speaks of affection between friends, between parents and children, between lovers, and between patriots and their country.

Britten War Requiem - Andris Nelsons, CBSO, BBC Prom 47

In light of the 2012 half-centenary of the premiere in the newly re-built Coventry Cathedral of Benjamin Britten’s War Requiem, the 2013 centennial celebrations of the composer’s own birth, and this year’s commemorations of the commencement of WW1, it is perhaps not surprising that the War Requiem - a work which was long in gestation and which might be seen as a summation of the composer’s musical, political and personal concerns - has been fairly frequently programmed of late. And, given the large, multifarious forces required, the potent juxtaposition of searing English poetry and liturgical Latin, and the profound resonances of the circumstances of the work’s commission and premiere, it would be hard to find a performance, as William Mann declared following the premiere, which was not a ‘momentous occasion’.

Santa Fe Opera Presents an Imaginative Carmen

Santa Fe opera has presented Carmen in various productions since 1961. This year’s version by Stephen Lawless takes place during the recent past in Northern Mexico near the United States border. The performance on August 6, 2014, featured Ana Maria Martinez as a monumentally sexy Gypsy who was part of a drug smuggling group.

Elgar Sea Pictures : Alice Coote, Mark Elder Prom 31

Sir Mark Elder and the Hallé Orchestra persuasively balanced passion and poetry in this absorbing Promenade concert. Elder’s tempi were fairly relaxed but the result was spaciousness rather than ponderousness, with phrases given breadth and substance, and rich orchestral colours permitted to make startling dramatic impact.

Berio Sinfonia, Shostakovich, BBC Proms

Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.

Four countertenors : Handel Rinaldo Glyndebourne

Handel's Rinaldo was first performed in 1711 at London's King's Theatre. Handel's first opera for London was designed to delight and entertain, combining good tunes, great singing with a rollicking good story. Robert Carsen's 2011 production of the opera for Glyndebourne reflected this with its tongue-in-cheek Harry Potter meets St Trinian's staging.

Santa Fe Opera Presents The Impresario and Le Rossignol

On August 7, 2014, the Santa Fe Opera presented a double bill of Wolfgang Amadeus Mozart’s The Impresario and Igor Stravinsky’s Le Rossignol (The Nightingale). The Impresario deals with the casting of an opera and Le Rossignol tells the well-known fairy tale about the plain gray bird with an exquisite song.

Barber in the Beehive State

Utah Festival Opera and Musical Theatre has gifted opera enthusiasts with a thrilling Barber, and I don’t mean . . . of Seville.

Stravinsky : Oedipus Rex, BBC Proms

In typical Proms fashion, BBC Prom 28 saw Stravinsky's Oedipus Rex performed in an eclectic programme which started with Beethoven's Egmont Overture and also featured Electric Preludes by the contemporary Australian composer Brett Dean. Sakari Oramo,was making the first of his Proms appearances this year, conducting the BBC Symphony Orchestra, BBC Singers and BBC Symphony Chorus.

Santa Fe Opera Presents a Passionate Fidelio

Santa Fe Opera presented Beethoven’s Fidelio for the first time in 2014. Since the sides of the opera house are open, the audience watched the sun redden the low hanging clouds and set below the Sangre de Cristo mountains while Chief Conductor Harry Bicket led the Santa Fe Opera Orchestra in the rousing overture. At the same time, Alex Penda as the title character readied herself for the ordeal to come as she endeavored to rescue her unjustly imprisoned husband.

Rameau Grand Motets, BBC Proms

Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17.

Adriana Lecouvreur, Opera Holland Park

Twelve years after Opera Holland Park's first production of Francesco Cilea’s Adriana Lecouvreur, the opera made a welcome return.

Back to the Beginnings: Monteverdi’s Il ritorno d’Ulisse in patria at Iford Opera.

The Italianate cloister setting at Iford chimes neatly with Monteverdi’s penultimate opera The Return of Ulysses, as the setting cannot but bring to mind those early days of the musical genre.

Schoenberg : Moses und Aron, Welsh National Opera, London

Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission.

Count Ory, Dead Man Walking
and La traviata in Des Moines

If you don’t have the means to get to the Rossini festival in Pesaro, you would do just as well to come to Indianola, Iowa, where Des Moines Metro Opera festival has devised a heady production of Le Comte Ory that is as long on belly laughs as it is on musical fireworks.

Janáček’s Glagolitic Mass, BBC Proms

Composed during just a few weeks of the summer of 1926, Janáček’s Slavonic-text Glagolitic Mass was first performed in Brno in December 1927.

Donizetti and Mozart, Jette Parker Young Artists Royal Opera House, London

With the conclusion of the ROH 2013-14 season on Saturday evening - John Copley’s 40-year old production of La Bohème bringing down the summer curtain - the sun pouring through the gleaming windows of the Floral Hall was a welcome invitation to enjoy a final treat. The Jette Parker Young Artists Summer Showcase offered singers whom we have admired in minor and supporting roles during the past year the opportunity to step into the spotlight.

Glyndebourne's Strauss Der Rosenkavalier, BBC Proms

Many words have already been spent - not all of them on musical matters - on Richard Jones’s Glyndebourne production of Der Rosenkavalier, which last night was transported to the Royal Albert Hall. This was the first time at the Proms that Richard Strauss’s most popular opera had been heard in its entirety and, despite losing two of its principals in transit from Sussex to SW1, this semi-staged performance offered little to fault and much to admire.

Il turco in Italia at the Aix Festival

Twenty years ago stage director Christopher Alden introduced Rossini’s then forgotten comedy to Southern California audiences in a production that is still remembered. In Aix Alden has revisited this complex work that many critics now consider Rossini’s greatest comedy.

OPERA TODAY ARCHIVES »

Performances

Wilfred Owen
13 Oct 2013

Benjamin Britten: War Requiem

Britten’s War Requiem is one of the defining artistic works of the twentieth century. Consummate artwork, religious ritual and prayer, ceremonial commemoration, ideological political statement, public expression of mourning, and private avowal of faith,

Benjamin Britten: War Requiem

A review by Claire Seymour

Above: Wilfred Owen

 

it demands performances which make a memorable, indelible mark on our consciousness and conscience. This haunting, arresting performance at the Royal Festival Hall by the London Philharmonic Orchestra and Chorus, conducted by Vladimir Jurowski, will surely be treasured and esteemed, ineradicably etched in the minds and hearts of all present.

Composed for the rededication of Coventry Cathedral in 1962, following its destruction during WWII, the score of the War Requiem is immensely demanding is numerous ways. First, huge orchestral forces are required: a large orchestra, chamber orchestra, large choir, boys’ choir, three soloists - the soprano singing with the forces of the main chorus, baritone and tenor aligned with the chamber instrumentalists. These personnel not only require consummate handling and control in performance, but also thorough, rigorous preparation. On this occasion, throughout the performance Jurowski’s commanding appreciation and manipulation of the whole and of the details and minutiae was impressively assured; the merest sign from the baton, clear and precise, was all that the performers required, and confident, communal understanding was unfailingly evident.

But, more than this, the preparation of the vast forces had clearly been exemplary. The London Philharmonic Choir sang throughout as one voice, having been impressively marshalled by Chorus Director, Neville Creed. Creed also conducted the chamber orchestra with a notable attentiveness and sensitivity, directing the instrumentalists with intelligent expressivity but always alert to their function within the larger whole. Leader Peter Schoerman and the other instrumentalists played exquisitely and affectively, intermittent soloists within the broader canvas.

Trinity Boys’ Choir performed confidently, expertly prepared by director David Swinson. One small proviso though: their opening lines in the Requiem aeternum were almost inaudible, and they were hushed and distant throughout; while this certainly suggested a remote separation from human concerns, a little more ‘presence’ might have brought greater sense of the power of their ‘innocence’.

The second challenge that Britten presents is the score’s integration of different linguistic and musical strata, the Latin Mass and the poetry of Wilfred Owen interlacing in intricate ways, supported by complex orchestral textures and dialogues. This necessitates a penetrating vision, in order to appreciation and communicate the way in which the separate strands cohere to convey a powerful singular message. It was William Plomer, Britten’s librettist for Gloriana and the Church Parables, who wrote that: ‘It is a function of creative men to perceive the relations between thoughts, or things, or forms of expression that may seem utterly different, and to be able to combine them in some new form.’ In this regard, Jurowski provided a compelling and inspiring framework, but the massed celebrants of the Mass, each of the soloists and the members of the small chamber orchestra also demonstrated an intuitive understanding of their role within the larger whole.

The London Philharmonic Chorus powerfully communicated the ritual emotions of the Mass, making Britten’s complex, challenging choral writing sound relatively straightforward. In the opening Requiem aeternum, their pianissimo ‘Kyrie eleison’ shimmered with an unearthly glow, while at the start of the subsequent Dies Irae they responded with thrilling passion to the terror and drama of the angular off-beat brass - the vigorous horn fanfares recalling the bugle calls of the Serenade and of Owen Wingrave - before subsiding to an eerie, exhausted calm: ‘Mors stupebit et natura/ Cum resurget creatura/ Judicanti responsura’ (Death and nature will be astounded/ When creation rises again/ To answer the Judge). The sopranos and altos pleaded with focused unity in the ‘Recordare’ before the male choral voices made more urgent pleas, underpinned by the pressing rhythms of the horns. In the Offertorium, the complex textures of interlacing choral and instrumental voices were expertly defined; at the close the Choir delivered the text with affecting, poignant fleetness, ‘Quam olim Abraham’ (Which thou did promise …).

Replacing Tatiana Monogarova, the advertised soloist, Russian soprano Evelina Dobračeva sang with impressive single-mindedness and heroism. Positioned in the balcony with the main body of the Choir, she soared exquisitely above the massed forces, never shrill, floating with power and focus - a pure emblem of the sentiments of the ritual. Crystalline of tone and with powerful projection in the ‘Liber scriptus proferetur’ section of the Dies Irae, Dobračeva built to a majestic climax; later in the movement, soprano and choir responded with passion to the incisive violence of the percussive rhythms and the off-beat aggression of timpani and cymbals. In the ‘Libera me’, initially supported by some wondrously fleeting violin gestures, the soprano rose effortlessly above the accruing instrumental thunder as the asymmetrical tempi drove the music towards apocalypse.

Singing with the chamber orchestra, it is the two male soloists who, paradoxically, convey the most intimate experience and emotions, and who speak most directly to the audience. Presenting Owen’s ‘Bugles sang, saddening the evening air’ in the Dies Irae, German baritone Matthias Goerne movingly communicated the oppressive weight that burdens those who, ‘Bowed by the shadow of the morrow, slept’. Later in the movement, Goerne brought both a rhetorical grandeur and a disturbing sense of brutality to the poem, ‘Be slowly lifted up, thou long black arm’. In the Sanctus, the agony of the restlessly questioning poet-speaker was conveyed, aided by some discomforting timpani strokes. Initially Goerne’s diction and pronunciation may have been less than clear, but it is worth remembering that the baritone role was composed for Dietrich Fischer-Dieskau (with Peter Pears singing the tenor part), and that the two soldiers represent the opposing forces in the war. This is most powerfully and intensely apparent in the final ‘Strange Meeting’; here, Goerne and the string players of the chamber ensemble condensed the horror, pain and senselessness of war. The ghostly reverberations of the line, ‘I am the enemy you killed, my friend’, were surpassed only by the unnerving emptiness of the final line, accompanied by deathly string tremors: ‘I parried; but my hands were loath and cold.’

Joining Goerne, tenor Ian Bostridge offered a typically penetrating and perceptive reading of the poetic texts. His unrelieved indignation in ‘Anthem for Doomed Youth’ immediately challenged us, establishing a disconcerting mood, one enhanced by the probing clarinet solo which accompanies the lines, ‘What candles may be held to speed them all?/ Not in the hands of boys, but in their eyes /Shall sine the holy glimmers of good-byes.’ ‘Move him into the sun’ was imbued with a ghostly disquiet, which was marvellously, if temporarily, calmed by the Choir’s consoling, major-key cadence, ‘Pie Jesu Domine … Amen’. Articulating the English soldier’s tale in ‘Strange Meeting’, Bostridge injected a startling, unpredictable energy as he described how he examined the corpses upon which he stumbled, ‘Then, as I probed them, one sprang up, and stared’; the tenor’s voice accompanied by the responsive chamber orchestra, startlingly embodying the probing, springing movements of the dead. The full texture which accompanied Bostridge’s greeting, ‘“Strange friend,” I said, “here is no cause to mourn”, was almost unbearably poignant.

At the end of a performance which was simultaneously emotionally exhausting and exhilarating, the concluding choral Amen had a Mahlerian power and pathos. This was a performance that was both theatrical and spiritual, and made an immense impression on all present; the long silence which followed the final utterance, Jurowski’s baton suspended aloft, told of its emotional impact on those in the Festival Hall.

The Southbank Centre’s The Rest is Noise Festival is inspired by Alex Ross’s eponymous book which explores the social, political and cultural forces which shaped the art of the twentieth century. As we prepare for the centenary commemorations of the 1914-1918 war, the War Requiem’s fusion of Owen’s honest poetry - devoid of self-pity but angrily asserting the very Pity of war - and the timelessness of the Latin Requiem Mass, together with the circumstances of the work’s own commission - the re-consecration of a sacred building destroyed in yet another world conflict that Owen must have hoped his words would help prevent - remind us that we still have not heeded the Poets’ moral caution of the futility of war.

Claire Seymour


Cast and production information:

Vladimir Jurowski, conductor; Evelina Dobračeva, soprano; Ian Bostridge, tenor; Matthias Goerne, baritone; Neville Creed, conductor (chamber orchestra); London Philharmonic Orchestra; London Philharmonic Choir; Trinity Boys’ Choir. Royal Festival Hall, Southbank Centre, London, Saturday 12th October 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):