23 Oct 2013
Mark-Anthony Turnage, Greek
After the bitter disappointment of
After the horrors of Jagoš Marković’s production of Le Nozze di Figaro in Belgrade, I was apprehensive lest Nabucco in Serbia’s second city of Novi Sad on 27th October would be transplanted from 6th century BC Babylon to post-Saddam Hussein Tikrit or some bombed-out kibbutz in Beersheba.
First Toronto, then Houston and now San Francisco, the third stop of a new production of Puccini's La bohème by Canadian born, British nurtured theater director John Caird.
Every once in a while Los Angeles Opera presents an important recital in the three thousand seat Dorothy Chandler Pavilion.
This third revival of Laurent Pelly’s production of Donizetti’s L’elisir d’amore needed a bit of a pep up to get moving but once it had been given a shot of ‘medicinal’ tincture things spiced up nicely.
Founded in 1996, Samling describes itself as a charity which ‘inspires musical excellence in young people’.
The good news is that you don’t have to go all the way to Pesaro for great Rossini.
Maître à danser: William Christie and Les Arts Florissants at the Barbican, London, presented a defining moment in Rameau performance practice, choreographed with a team of dancers.
The most memorable thing (and definitely not in a good way) about this performance of Le Nozze di Figaro at the Serbian National Theatre in Belgrade was the self-serving, infantile, offensive and just plain wrong production by celebrated Serbian theatre director Jagoš Marković.
Should looks matter when casting the role of the iconic temptress for HD simulcast?
Maurice Greene (1696-1755) had a highly successful musical career. Organist of St. Paul’s Cathedral, a position to which he was elected when he was just 22 years-old, he later became organist of the Chapel Royal, Professor of Music at the University of Cambridge and, from 1735, Master of the King’s Music.
Yet another Tosca is hardly exciting news, if news at all. The current five performances have come just two years after SFO alternated divas Angela Gheorghiu and Patricia Racette in the title role.
What an enjoyable opportunity to encounter Dvořák’s sixth opera, Šelma Sedlák¸or The Cunning Peasant!
Whether biblical parable or mythological moralising, it’s all the same really: human hubris, humility, sacrifice and redemption.
Opera Rara brought a rare performance of Donizetti’s first opera for the Paris Opera to the Royal Festival Hall on 4 November 2014, following recording sessions for the opera.
Bass baritone, Luca Pisaroni, known to opera lovers throughout the world for his excellence in Mozart roles, offered San Diego vocal aficionados a double treat on October 28th: his mellifluous voice, and a recital of German songs.
Jonathan Miller’s production of La bohème for ENO, shared with Cincinnati Opera, sits uneasily, at least as revived by Natascha Metherell, between comedy and tragedy.
Any Florian Boesch and Malcolm Martineau performance is superb, but this Wigmore Hall recital surprised, too. Boesch's Schubert is wonderful, but this time, it was his Liszt and Strauss songs which stood out. This year at the Wigmore Hall, we've heard a lot of Liszt and a lot of Richard Strauss everywhere, establishing high standards, but this was special.
The weather was auspicious for Wexford Festival Opera’s first-night firework display — mild, clear and calm. But, as the rainbow rockets exploded over the River Slaney, even bigger bangs were being made down at the quayside.
The cast of supporting roles was especially strong in the company’s new production of Mozart’s matchless masterpiece
The company uncorks its 40th Anniversary season with a visually and musically satisfying production of Johann Strauss Jr.’s farcical operetta
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.