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

Semiramide at the Rossini Opera Festival

The pleasures (immense) and pain of Gioachino Rossini’s Semiramide (Venice, 1823). Uncut.

L’equivoco stravagante in Pesaro

L’equivoco stravagante (The Bizarre Misunderstanding), the 18 year-old Gioachino Rossini's first opera buffa, is indeed bizarre. Its heroine Ernestina is obsessed by literature and philosophy and the grandiose language of opera seria.

BBC Prom 44: Rattle conjures a blistering Belshazzar’s Feast

This was a notable occasion for offering three colossal scores whose execution filled the Albert Hall’s stage with over 150 members of the London Symphony Orchestra and 300 singers drawn from the Barcelona-based Orfeó Català and Orfeó Català Youth Choir, along with the London Symphony Chorus.

Prom 45: Mississippi Goddam - A Homage to Nina Simone

Nina Simone was one of the towering figures of twentieth-century music. But she was much more than this; many of her songs came to be a clarion call for disenfranchised and discriminated against Americans. When black Americans felt they didn’t have a voice, Nina Simone gave them one.

Sincerity, sentimentality and sorrow from Ian Bostridge and Julius Drake at Snape Maltings

‘Abwärts rinnen die Ströme ins Meer.’ Down flow the rivers, down into the sea. These are the ‘sadly-resigned words in the consciousness of his declining years’ that, as reported by The Athenaeum in February 1866 upon the death of Friedrich Rückert, the poet had written ‘some time ago, in the album of a friend of ours, then visiting him at his rural retreat near Neuses’. Such melancholy foreboding - simultaneously sincere and sentimental - infused this recital at Snape Maltings by Ian Bostridge and Julius Drake.

Glimmerglass’ Showboat Sails to Glory

For the annual production of a classic American musical that has become part of Glimmerglass Festival’s mission, the company mounted a wholly winning version of Jerome Kern and Oscar Hammerstein II’s immortal Showboat.

Proms at ... Cadogan Hall 5: Louise Alder and Gary Matthewman

“On the wings of song, I’ll bear you away …” So sings the poet-speaker in Mendelssohn’s 1835 setting of Heine’s ‘Auf Flügeln des Gesanges’. And, borne aloft we were during this lunchtime Prom by Louise Alder and Gary Matthewman which soared progressively higher as the performers took us on a journey through a spectrum of lieder from the first half of the nineteenth century.

Glowing Verdi at Glimmerglass

From the first haunting, glistening sound of the orchestral strings to the ponderous final strokes in the score that echoed the dying heartbeats of a doomed heroine, Glimmerglass Festival’s superior La Traviata was an indelible achievement.

Médée in Salzburg

Though Luigi Cherubini long outlived the carnage of the French Revolution his 1797 opéra comique [with spoken dialogue] Médée fell well within the “horror opera” genre that responded to the spirit of its time. These days however Médée is but an esoteric and extremely challenging late addition to the international repertory.

Queen: A Royal Jewel at Glimmerglass

Tchaikovsky’s grand opera The Queen of Spades might seem an unlikely fit for the multi-purpose room of the Pavilion on the Glimmerglass campus but that qualm would fail to reckon with the superior creative gifts of the production team at this prestigious festival.

Blue Diversifies Glimmerglass Fare

Glimmerglass Festival has commendably taken on a potent social theme in producing the World Premiere of composer Jeanine Tesori and librettist Tazewell Thompson’s Blue.

Vibrant Versailles Dazzles In Upstate New York

From the shimmering first sounds and alluring opening visual effects of Glimmerglass Festival’s The Ghosts of Versailles, it was apparent that we were in for an evening of aural and theatrical splendors worthy of its namesake palace.

Gilda: “G for glorious”

For months we were threatened with a “feminist take” on Verdi’s boiling 1851 melodrama; the program essay was a classic mashup of contemporary psychobabble perfectly captured in its all-caps headline: DESTRUCTIVE PARENTS, TOXIC MASCULINITY, AND BAD DECISIONS.

Simon Boccanegra in Salzburg

It’s an inescapable reference. Among the myriad "Viva Genova!" tweets the Genovese populace shared celebrating its new doge, the pirate Simon Boccanegra, one stood out — “Make Genoa Great Again!” A hell of a mess ensued for years and years and the drinking water was poisonous as well.

Rigoletto at Macerata Opera Festival

In this era of operatic globalization, I don’t recall ever attending a summer opera festival where no one around me uttered a single word of spoken English all night. Yet I recently had this experience at the Macerata Opera Festival. This festival is not only a pure Italian experience, in the best sense, but one of the undiscovered gems of the European summer season.

BBC Prom 37: A transcendent L’enfance du Christ at the Albert Hall

Notwithstanding the cancellation of Dame Sarah Connolly and Sir Mark Elder, due to ill health, and an inconsiderate audience in moments of heightened emotion, this performance was an unequivocal joy, wonderfully paced and marked by first class accounts from four soloists and orchestral playing from the Hallé that was the last word in refinement.

Tannhäuser at Bayreuth

Stage director Tobias Kratzer sorely tempts destruction in his Bayreuth deconstruction of Wagner’s delicate Tannhäuser, though he was soundly thwarted at the third performance by conductor Christian Thielemann pinch hitting for Valery Gergiev.

Opera in the Quarry: Die Zauberflöte at St Margarethen near Eisenstadt, Austria

Oper im Steinbruch (Opera in the Quarry) presents opera in the 2000 quarry at St Margarethen near Eisenstadt in Austria. Opera has been performed there since the late 1990s, but there was no opera last year and this year is the first under the new artistic director Daniel Serafin, himself a former singer but with a degree in business administration and something of a minor Austrian celebrity as he has been on the country's equivalent of Strictly Come Dancing twice.

BBC Prom 39: Sea Pictures from the BBC National Orchestra of Wales

Sea Pictures: both the name of Elgar’s five-song cycle for contralto and orchestra, performed at this BBC Prom by Catriona Morison, winner of the Cardiff Singer of the World Main Prize in 2017, and a fitting title for this whole concert by the BBC National Orchestra of Wales conducted by Elim Chan, which juxtaposed a first half of songs of the sea, fair and fraught, with, post-interval, compositions inspired by paintings.

BBC Prom 32: DiDonato spellbinds in Berlioz and the NYO of the USA magnificently scales Strauss

As much as the Proms strives to stand above the events of its time, that doesn’t mean the musicians, conductors or composers who perform there should necessarily do so.

OPERA TODAY ARCHIVES »

Performances

A World War I battle scene [Source: US Army]
11 Nov 2013

Britten’s Atmospheric War Requiem, London

On Remembrance Sunday, Semyon Bychkov conducted Benjamin Britten's War Requiem at the Royal Albert Hall with Roderick Williams, Allan Clayton, Sabrina Cvilak, the BBC Symphony Orchestra, the BBC Symphony Chorus, Crouch End Festival Chorus and choristers of Westminster Abbey.

Britten’s Atmospheric War Requiem, London

A review by Anne Ozorio

Above: A World War I battle scene [Source: US Army]

 

The sense of occasion was overwhelming.

The vast auditorium was packed, and the arena area where Prommers throng in summer, was filled with seats. Before the performance began, the house lights were turned, not onto the stage but onto the audience. It was a moment of sheer theatre, but utterly appropriate, for everyone in the building must have known, or know of someone affected by the barbarity of war. No-one could remain unmoved. Wilfred Owen wrote about the First World War, and Britten wrote to commemorate peace after the Second World War. But the world is still wracked by conflict. Wars of attrition continue, millions of people still suffer. Turning the spotlight on the audience reminded us that Remembrance is more than "Lest we forget" but also implies moral obligation.

How amazing it must have been for the performers to look onto the Royal Albert Hall and see the lights shining on thousands of faces! This was infinitely more a communal experience than just a musical event. The lines between performance and reception blurred. Normal measure of performance were largely irrelevant. We were all participating in something much greater than ourselves.

Because the War Requiem was commissioned to mark the rebuilding of Coventry Cathedral, it has become associated with vast venues and ostentatious displays of public piety. Although it's written for some 300 performers, at the really critical moments, Britten silences the tumult. Britten was essentially a private man, not given to big public gestures of emotion. The heart of the piece is the twelve member ensemble that accompanies the two male soloists. The choruses and the female soloist sing in Latin, and sing words that would fit neatly into any standard Requiem Mass. Significantly, Britten sets the key texts in English, using the words of Wilfred Owen, who wrote from personal experience. Owen does not celebrate public victory : quite the opposite. He fought bravely, but eschewed formal religion. Britten doesn't quote the biblical story of Abraham and Isaac, but Wifred Owen's Parable of the Old Men and the Young, with its reference to the wilful slaying, not sanctioned by God, of "half the seed of Europe, one by one"

"Move him into the sun" sings the tenor (Allan Clayton). The quote is from a poem titled Futility. A corpse lies on snowbound ground. The soprano and choruses sing "Lachrymosa", of tears and the conventional expression of sorrow. The music is beautiful, but Owen, and Britten are having none of this. "O what made fatuous sunbeams toil, to break earth's sleep at all"? Unlike seeds in the soil, the dead don't re-sprout. In the Sanctus, the choirs sing "Hosanna in excelcis". But Britten has the baritone (Roderick Williams) sing, quite pointedly "Mine ancient scars should not be gloried. Nor my titanic tears, the seas, be dried". Britten's War Requiem isn't designed to comfort, as much as to provoke.

Bychkov places the chamber ensemble to his immediate left, "the heart side" in theatre parlance.The instrumentation mimics that of a large orchestra - five strings, four winds, horn, harp and percussion - but the individual voices are heard clearly : It's another indication of Britten's "inner" programme.

"Lbera me, Domine" the soprano (Sabina Cvilak) sings, haloed by the chorus. "Tremens factus sum ego" (I tremble and fear) The orchestra screams, cymbals crashing, suggesting the chaos of battle. Bychkov's definition of horns, trumpets and trombones was specially good, emphasizing military conflict. But Britten deliberately shifts focus. To minimal accompaniment the tenor sings ""Strange friend, I said, here is no cause to mourn". Tenor and baritone face each other in a strange No Man's Land where nations do not fight. There are no "Germans" or "British" here but two human beings, man to man. Their voices blend. "Let us sleep now", singing in unity. They are turning away from the vast forces around them. Perhaps Britten recognized that social forces dominate over the private. The War Requiem ends on a wave of uplifting glory, sending the audience out into the world feeling the better for having been part of the experience.

Anne Ozorio

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):