Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Moshinsky's Simon Boccanegra returns to Covent Garden

Despite the flaming torches of the plebeian plotters which, in the Prologue, etched chiaroscuro omens within the Palladian porticos of Michael Yeargan’s imposing and impressive set, this was a rather slow-burn revival of Elijah Moshinsky’s 1991 production of Simon Boccanegra.

Royal Academy's Semele offers 'endless pleasures'

Self-adoring ‘celebrities’ beware. That smart-phone which feeds your narcissism might just prove your nemesis.

The Eternal Flame: Debussy, Lindberg, Stravinsky and Janáček - London Philharmonic, Vladimir Jurowski

Although this concert was ostensibly, and in some respects a little tenuously, linked to the centenary of the Armistice, it did create some challenging assumptions about the nature of war. It was certainly the case in Magnus Lindberg’s new work, Triumf att finnas till… (‘Triumph to Exist…’) that he felt able to dislocate from the horror of the trenches and slaughter by using a text by the wartime poet Edith Södergran which gravitates towards a more sympathetic, even revisionist, expectation of this period.

François-Xavier Roth conducts the London Symphony Orchestra and Chorus in Works by Ligeti, Bartók and Haydn

For the second of my armistice anniversary concerts, I moved across town from the Royal Festival Hall to the Barbican.

The Silver Tassie at the Barbican Hall

‘Serious sport has nothing to do with fair play. It is bound up with hatred, jealousy, boastfulness, disregard of all rules and sadistic pleasure in witnessing violence: in other words it is war minus the shooting.’ The words of George Orwell, expressed in a Tribune article, ‘The Sporting Spirit’, published in 1945.

The Last Letter: the Britten Sinfonia at Milton Court

The Barbican Centre’s For the Fallen commemorations continued with this varied and thought-provoking programme, The Last Letter, which interweaved vocal and instrumental music with poems and prose, and focused on relationships - between husband and wife, fellow soldiers, young men and their homelands - disrupted by war.

Fiona Shaw's Cendrillon casts a spell: Glyndebourne Tour 2018

Fiona Shaw’s new production of Massenet’s Cendrillon (1899) for this year’s Glyndebourne Tour makes one feel that the annual Christmas treat at the ballet or the panto has come one month early.

The Rake’s Progress: Vladimir Jurowski and the London Philharmonic

Stravinsky’s The Rake’s Progress is not, in many ways, a progressive opera; it doesn’t seek to radicalise, or even transform, opera and yet it is indisputably one of the great twentieth-century operas.

A raucous Così fan tutte at the Guildhall School of Music and Drama

Precisely where and when Così fan tutte takes place should be a matter of sublime indifference - or at least of individual taste. It is ‘about’ many things, but eighteenth-century Naples - should that actually be the less exotic yet still ‘othered’ neāpolis of Wiener Neustadt? - is not among them.

For the Fallen: James Macmillan's All the Hills and Vales Along at Barbican Hall

‘He has clothed his attitude in fine words: but he has taken the sentimental attitude.’ So, wrote fellow war poet Charles Hamilton Sorley of the last sonnets of Rupert Brooke.

English Touring Opera: Troubled fidelities and faiths

‘Can engaging with contemporary social issues save the opera?’ asked M. Sophia Newman last week, on the website, News City, noting that many commentators believe that ‘public interest in stuffy, intimidating, expensive opera is inevitably dwindling’, and that ‘several recent opera productions suggest that interest in a new kind of urban, less formally-staged, socially-engaged opera is emerging and drawing in new audiences to the centuries-old art form’.

Himmelsmusik: L'Arpeggiata bring north and south together at Wigmore Hall

Johann Theile, Crato Bütner, Franz Tunder, Christian Ritter, Giovanni Felice Sances … such names do not loom large in the annals of musical historiography. But, these and other little-known seventeenth-century composers took their place alongside Bach and Biber, Schütz and Monteverdi during L’Arpeggiata’s most recent exploration of musical cross-influences and connections.

Piotr Beczała – Polish and Italian art song, Wigmore Hall London

Can Piotr Beczała sing the pants off Jonas Kaufmann ? Beczała is a major celebrity who could fill a big house, like Kaufmann does, and at Kaufmann prices. Instead, Beczała and Helmut Deutsch reached out to that truly dedicated core audience that has made the reputation of the Wigmore Hall : an audience which takes music seriously enough to stretch themselves with an eclectic evening of Polish and Italian song.

Soloists excel in Chelsea Opera Group's Norma at Cadogan Hall

“Let us not be ashamed to be carried away by the simple nobility and beauty of a lucid melody of Bellini. Let us not be ashamed to shed a tear of emotion as we hear it!”

Handel's Serse: Il Pomo d'Oro at the Barbican Hall

Sadly, and worryingly, there are plenty of modern-day political leaders - both dictators and the democratically elected - whose petulance, stubbornness and egoism threaten the safety of their own subjects as well as the stability and security of other nations.

Dutch touring Tosca is an edge-of-your-seat thriller

Who needs another Tosca? Seasoned opera buffs can be blasé about repertoire mainstays. But the Nederlandse Reisopera’s production currently touring the Netherlands is worth seeing, whether it is your first or your hundred-and-first acquaintance with Puccini’s political drama. The staging is refreshing and pacey. Musically, it has the four crucial ingredients: three accomplished leads and a conductor who swashbuckles through the score in a blaze of color.

David Alden's fine Lucia returns to ENO

The burden of the past, and the duty to ensure its survival in the present and future, exercise a violent grip on the male protagonists in David Alden’s production of Lucia di Lammermoor for English National Opera, with dangerous and disturbing consequences.

Verdi's Requiem at the ROH

The full title of Verdi’s Messa da Requiem per l’anniversario della morte di Manzoni 22 maggio 1874 attests to its origins, but it was the death of Giacomo Rossini on 13th November 1868 that was the initial impetus for Verdi’s desire to compose a Requiem Mass which would honour Rossini, one of the figureheads of Italian cultural magnificence, in a national ceremony which - following the example of Cherubini’s C minor Requiem and Berlioz’s Grande messe des morts - was to be as much a public and political occasion as a religious one.

Wexford Festival 2018

The 67th Wexford Opera Festival kicked off with three mighty whacks of a drum and rooster’s raucous squawk, heralding the murderous machinations of the drug-dealing degenerate, Cim-Fen, in Franco Leoni’s one-act blood-and-guts verismo melodrama, L’oracolo … alongside an announcement by the Minister for Culture, Heritage and the Gaeltacht, Josepha Madigan, of an award of €1 million in capital funding for the National Opera House to support necessary updating and refurbishment works over the next 3 years.

A New La bohème Opens Season at Lyric Opera of Chicago

Lyric Opera of Chicago opened its 2018-19 season with Giacomo Puccini’s La bohème. This new production, shared with the Royal Opera House, Covent Garden and with the Teatro Real, Madrid, features an accomplished cast and innovative scenic approaches.

OPERA TODAY ARCHIVES »

Performances

Photography: Richard Hubert Smith
11 Oct 2013

The Coronation of Poppea, ETO

James Conway’s production of Monteverdi’s final masterpiece, L’incoronazione di Poppea was

Claudio Monteverdi: L’incoronazione di Poppea (sung in English, as The Coronation of Poppea)

A review by Mark Berry

Above: A scene from L’incoronazione di Poppea [Photo by Richard Hubert Smith]

 

first performed last November by students from the Royal College of Music. Now it is revived, at the same Britten Theatre, but by English Touring Opera, as part of its Venetian season. It made a still greater impression upon me than last year; whilst the earlier cast had sung well and deserved great credit, the professional singers of ETO seemed more inside their roles, as much in stage as purely musical terms.

Conway’s production holds up very well. Its perhaps surprising relocation of the action to a parallel universe in which a Stalinist Russia existed without the prude Stalin — ‘just the breath of his world,’ as Conway’s programme note puts it — provides a highly convincing reimagination of the already reimagined world of Nero. ‘Stalin’s bruising reign convinced me,’ Conway writes, ‘that this was a place in which Nerone might flourish, from which Ottone, Drusilla, Ottavia, and Seneca might suddenly disappear, and in which all might live cheek by jowl in a sort of family nightmare, persisting in belief in family (or some related ideal) even as it devours them.’ And so it comes to pass, from the Prologue in which La Fortuna, La Virtù, and Amore unfurl their respective red banners, setting out their respective stalls, until Poppea’s (and Amore’s) final triumph. Claustrophobia reigns supreme, save for the caprice of Amore himself, here dressed as a young pioneer, ready to knock upon the window at the crucial moment, so as to prevent Ottone from the murder that would have changed everything. Samal Black’s set design is both handsome and versatile, permitting readily of rearrangement, and also providing for two levels of action: Ottavia can plot, or lament, whilst Poppea sleeps. Conway’s idea of Poppea as an almost Lulu-like projection of fantasies in an opera whose game is power continues to exert fascination, and in a strongly acted performance, proves perhaps more convincing still than last time. Where then, the blonde wig had seemed more odd than anything else, here the idea of a constructed identity, designed to please and to further all manner of other interests, registers with considerable dramatic power. The seeping of blood as the tragedy — but is it that? — ensues makes an equally powerful point, albeit with relative restraint; this is not, we should be thankful, Lady Macbeth of Mtsensk or some other instance of Grand Guignol. Above all, the Shakespearean quality of Monteverdi’s imagination, unparalleled in opera before Mozart, registers as it must. One regretted the cuts, but one could live with them in as taut a rendition as this.

Michael Rosewell’s conducting had gained considerably in fluency from last time. I feared the worst from the opening sinfonia, in which ornamentation became unduly exhibitionistic — I could have sworn that I heard an interpolated phrase from the 1610 Vespers at one point — and the violins were somewhat painfully out of tune, my fears were largely confounded. It is a great pity that we still live in a climate of musical Stalinism, in which modern instruments are considered enemies of the people than the kulaks were, but continuo playing largely convinced and string tone, even if emaciated, at least improved in terms of intonation. For something more, we must return, alas, to Leppard or to Karajan.

Moreover, it was possible — indeed, almost impossible not — to concentrate upon the musico-dramatic performances on stage. Helen Sherman’s Nerone displayed laudable ability to act ‘masculine’, at least to the dubious extent that the character deserves it, and great facility with Monteverdi’s lines, even when sung in English. Paula Sides proved fully the equal both of Monteverdi’s role and Conway’s conception. Hers was a performance compelling in beauty and eroticism; indeed, the entwining of the two was impressive indeed. The nobility but also the vengefulness of Ottavia came through powerfully in Hannah Pedley’s assumption, her claret-like tintà a rare pleasure. Michal Czerniawski again displayed a fine countertenor voice as Ottone, engaging the audience’s sympathy but also its interest; this was no mere cipher, but a real human being. Much the same could be said of Hannah Sandison’s Drusilla, save of course for the countertenor part. Piotr Lempa has the low notes for Seneca, though production can be somewhat uneven, perhaps simply a reflection of a voice that is still changing. John-Colyn Gyeantey’s Arnalta was more ‘characterful’ than beautifully sung, but perhaps that was the point. Pick of the rest was undeniably Jake Arditti’s protean Amor, as stylishly sung as it was wickedly acted. The cast, though, is more than the sum of its parts, testament to a well-rehearsed, well-c0nceived, well-sung production of a truly towering masterpiece.

Mark Berry


Cast and production information:

Nerone: Helen Sherman; Seneca: Piotr Lempa; Ottavia: Hannah Pedley; Nutrice: Russell Harcourt; Lucano: Stuart Haycock; Liberto: Nicholas Merryweather; Poppea: Paula Sides; Arnalta: John-Colyn Gyeantey; Ottone: Michal Czerniawski; Drusilla: Hannah Sandison; Amor: Jake Arditti. Director: James Conway; Revival director: Oliver Platt; Designs: Samal Blak; Lighting: Ace McCarron. Old Street Band/Michael Rosewell (conductor). Britten Theatre, Royal College of Music, Wednesday 9 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):