23 Oct 2013
Mark-Anthony Turnage, Greek
After the bitter disappointment of
Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.
A historical afternoon at the NTR Saturday Matinee occurred with an epic concert version of Prokofiev’s Soviet Opera Semyon Kotko.
Opening night at the Metropolitan is a gleeful occasion even when the composer is long gone, but December 1st was an opening for a living composer who has been making waves around the world and is, gasp, a woman — the second woman composer ever to have an opera presented at the Met.
For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.
As the German language describes so beautifully, a “Schrei aus tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra from the depths of her soul.
Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.
Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.
On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.
Here is one of the next new great conductors. That’s a bold statement, but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment “is the biggest news in the conducting world.” But Ms. Mirga Gražinytė-Tyla will be getting a lot of weight on her shoulders.
Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.
Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.
On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.
Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.
You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.
If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.
Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.
I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.
For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.
Akhnaten is the third in composer Philip Glass’s trilogy of operas about people who have made important contributions to society: Albert Einstein in science, Mahatma Gandhi in politics, and Akhnaten in religion. Glass’s three operas are: Einstein on the Beach, Satyagraha, and Akhnaten.
Shakespeare re-imagined for the very Late Baroque, with Bampton Classical Opera at St John's Smith Square. "Shakespeare, Shakespeare, Shakespeare....the God of Our Idolatory". So wrote David Garrick in his Ode to Shakespeare (1759) through which the actor and showman marketed Shakespeare to new audiences, fanning the flames of "Bardolatory". All Europe was soon caught up in the frenzy.
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.