23 Oct 2013
Mark-Anthony Turnage, Greek
After the bitter disappointment of
On Thursday evening October 13, Los Angeles Opera transmitted Giuseppe Verdi’s Macbeth live from the Dorothy Chandler Pavilion, in the center of the city, to a pier in Santa Monica and to South Gate Park in Southeastern Los Angeles County. My companion and I saw the opera in High Definition on a twenty-five foot high screen at the park.
“Hi! I’m at the Wigmore Hall!” American mezzo-soprano Jamie Barton’s exuberant excitement at finding herself performing in the world’s premier lieder venue was delightful and infectious. With accompanist James Baillieu, Barton presented what she termed a “love-fest” of some of the duo’s favourite art songs. The programme - Turina, Brahms, Dvořák, Ives, Sibelius - was also surely designed to show-case Barton’s sumptuous and balmy tone, stamina, range and sheer charisma; that is, the qualities which won her the First and Song Prizes at the 2013 BBC Cardiff Singer of the World Competition.
“If I lacked ears, it would be bad, but still more bearable; but lacking a nose, a man is devil knows what: not a bird, not a citizen—just take and chuck him out the window!”
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.
After the bitter disappointment of
Anna Nicole, came this reminder — both sad and hopeful- that Mark-Anthony Turnage was once capable of writing urgent, exciting music theatre. Indeed, from this composer I have heard nothing finer, perhaps nothing to match, this, his first opera, to Steven Berkoff’s libretto after his own Oedipal play, Greek. Adverse circumstances notwithstanding, this performance and production from Music Theatre Wales offered everything one could reasonably hope for, and more. Marcus Farnsworth, who had been ailing on the first night, had awoken with no voice, to be replaced by an heroic combination of the flown-in-from-Berlin-that-afternoon Alastair Shelton-Smith to sing the part on stage and Michael McCarthy to act, to mime the sung passages, and to deliver the spoken text. If anything, the practice added to the feeling of alienation, social and theatrical, but it would have come to nothing without such committed performances. From the word go, or rather a somewhat bluer word than that, when McCarthy hastened toward the stage, scarily impersonating an irate member of the audience hurling abuse at the audience, he inhabited the role visually and gesturally. His own production frames the performance convincingly, offering a return into the audience as Eddy is rejected by his family, those who supposedly love him unable to stomach his desire to ‘climb back inside my mum’. Shelton-Smith’s assuredly protean yet deeply felt vocal performance fully deserved the rapturous reception it received from audience and fellow cast-members alike, and would have done so even if it had not been for the particular circumstances.
But the other performances were equally assured. Sally Silver and Louise Winter proved as versatile in vocal as in acting terms, their combination as lesbian separatist sphinx being sleazy and savagely humorous in equal measure. Gwion Thomas was just as impressive in the other male roles, the sad would-be patriarch as much as the brutal police chief. The Music Theatre Wales Ensemble under Michael Rafferty played Turnage’s score as to the manner born: angry and soulful, biting and tender, urgent and yet offering oases for reflection. Whether called upon to play in conventional terms, to shout, to stamp, or even to strike a pose, there could be no gainsaying the level of artistry on offer from players and conductor alike.
McCarthy’s production places the work firmly in the tradition of music theatre — doubtless partly out of necessity, but, unlike in the opera, virtue certainly arises out of fate. Props are minimal but used to full effect, the cast in proper post-Brechtian fashion undertaking the stage business too. Video projections of key words, not least Berkoff’s inevitable ‘Motherfucker’, heightens both drama and alienation. But perhaps the principal virtue is that of allowing the anger of Berkoff and Turnage’s drama to unfold, within an intelligent yet far from attention-seeking frame. The transposition of the Oedipus myth to 1980s London now seems both of its time and yet relevant to ours. It works as a far more daring version of the original EastEnders might have done, yet with injection of magic realism. Both Berkoff’s ear for language — the ability to forge a stylised ‘vernacular’, which yet can occasionally shift into knowingly would-be Shakespearean poetry — and Turnage’s response and intensification, whether his pounding protest rhythms or the jazzy seduction of his beloved saxophone, work just as McCarthy’s staging does: they grip and yet they will also, if not always, distance. Above all, one continues to feel and indeed to reiterate the anger felt by outcasts in the brutal Britain of Margaret Thatcher. Incest offers not only its own story, but stands or can come to stand also for other forms of social and sexual exclusion. Hearing of the plague, one can think of it as Thatcherism and the ignorant, hypocritical right-wing populism that continues to infest political discourse, or one can turn it round and view it as the guardians of morality most certainly would have done at the time of the 1988 premiere, as the fruits of sexual ‘deviance’: the tragedy of HIV/AIDS.
That space to think, to interpret is not the least of the work’s virtues, fully realised in performance. Its musical lineage is distinguished; on this occasion, those coming to mind included Stravinsky, Andriessen, magical shards of Knussen, and, alongside the music theatre of the Manchester School, that of Henze too, especially the angry social protest of Natascha Ungeheuer. But it is its own work, now with its own performance tradition, of which Music Theatre Wales’s contribution is heartily to be welcomed.
Cast and production information:
Eddy: Alastair Shelton-Smith/Michael McCarthy; Eddy’s Mum/Waitress/Sphinx: Sally Silver; Eddy’s Sister/Waitress who becomes Eddy’s Wife/Sphinx: Louise Winter; Dad/Café Manager/Chief of Police: Gwion Thomas. Director: Michael McCarthy; Designs: Simon Banham; Lighting: Ace McCarron, Jon Turtle. The Music Theatre Wales Ensemble/Michael Rafferty (conductor). Linbury Studio Theatre, Royal Opera House, Covent Garden, Tuesday 22 October 2013.