Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Cold Mountain, Philadelphia

Opera Philadelphia deserves congratulations on yet another coup. The company co-commissioned Cold Mountain, an opera by Jennifer Higdon based on Gene Scheer’s adaptation of Charles Frazier’s celebrated Civil War epic.

Christian Gerhaher Wolfgang Rihm Wigmore Hall

For their first of two recitals at the Wigmore Hall, Christian Gerhaher and Gerold Huber devised an interesting programme - popular Schubert mixed with songs by Wolfgang Rihm and by Huber himself.

Götterdämmerung in Palermo

There are not many opera productions that you would cross oceans to see. Graham Vick’s Götterdämmerung in Sicily however compelled such a voyage.

Emmanuel Chabrier L’Étoile — Royal Opera House London

Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.

Robert Ashley’s Quicksand at the Kitchen

Robert Ashley’s opera-novel Quicksand makes for a novel experience

Premiere of Raskatov’s Green Mass

One of the leading Russian composers of his generation, Alexander Raskatov’s reputation in the UK and western Europe derives from several, recent large-scale compositions, such as his reconstruction of Alfred Schnittke’s Ninth Symphony from a barely legible manuscript (the work was first performed in 2007 in the Dresden Frauenkirche by the Dresden Philharmonic under Dennis Russell Davies), and his 2010 opera A Dog’s Heart, based on Mikhail Bulgakov’s satire (which was directed by Simon McBurney at English National Opera in 2010, following the opera’s premiere at Netherlands Opera earlier that year).

Orpheus in the Underworld, Opera Danube

I’m not sure that St John’s Smith Square was the most appropriate venue for Opera Danube’s latest production: Jacques Offenbach’s satirical frolic, Orpheus in the Underworld.

Lady Macbeth of Mtsensk in Lyon

This nasty little opera evening in Lyon lived up to the opera’s initial reputation as pure pornophony. This is the erotic Shostakovich of the D minor cello sonata, it is the sarcastic and complicated Shostakovich of The Nose . . .

Bel Canto: A World Premiere at Lyric Opera of Chicago

During December 2015 and presently in January Lyric Opera of Chicago has featured the world premiere of the opera Bel Canto, with music by Jimmy López and libretto by Nilo Cruz, based on the novel by Ann Patchett.

Tosca, Royal Opera

Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.

Lianna Haroutounian resplendent in Madama Butterfly at the Concertgebouw

The title role is a deciding factor in Madama Butterfly. Despite a last-minute conductor cancellation, last Saturday’s concert performance at the Concertgebouw was a resounding success, thanks to Lianna Haroutounian’s opulent, heart-stealing Cio-Cio-San.

Classical Opera: MOZART 250 — 1766: A Retrospective

With this performance of vocal and instrumental works composed by the 10-year-old Mozart and his contemporaries during 1766, Classical Opera entered the second year of their 27-year project, MOZART 250, which is designed to ‘contextualise the development and influences of [sic] the composer’s artistic personality’ and, more audaciously, to ‘follow the path that subsequently led to some of the greatest cornerstones of our civilisation’.

Benjamin Appl — Schubert, Wigmore Hall London

Luca Pisaroni and Wolfram Rieger were due to give the latest installment in the Wigmore Hall's complete Schubert songs series, but both had to cancel at short notice. Fortunately, the Wigmore Hall rises to such contingencies, and gave us Benjamin Appl and Jonathan Ware. Since there's a huge buzz about Appl, this was an opportunity to hear more of what he can do.

Ferrier Awards Winners’ Recital

The phrase ‘Sunday afternoon concert’ may suggest light, post-prandial entertainment, but soprano Gemma Lois Summerfield and her accompanist, Simon Lepper, swept away any such conceptions in this demanding programme at St. John’s Smith Square.

Pelléas et Mélisande at the Barbican

When, o when, will someone put Peter Sellars and his compendium of clichés out of our misery?

L'Arpeggiata: La dama d’Aragó, Wigmore Hall

Having recently followed some by-ways through the music of Purcell, Monteverdi and Cavalli, L’Arpeggiata turned the spotlight on traditional folk music in this characteristically vibrant and high-spirited performance at the Wigmore Hall.

Tippett : A Child of Our Time, London

Edward Gardner brought all his experience as a choral and opera conductor to bear in this stirring performance of Michael Tippett’s A Child of Our Time at the Barbican Hall, with a fine cast of soloists, the BBC Symphony Orchestra and BBC Symphony Chorus.

Taverner and Tavener, Fretwork, London

‘Apt for voices or viols’: eager to maximise sales among the domestic market in Elizabethan England, publishers emphasised that the music contained in collections such as Thomas Morley’s First Book of Madrigals to Four Voices of 1594 was suitable for performance by any combination of singers and players.

Fall of the House of Usher in San Francisco

It was a single title but a double bill and there was far more happening than Gordon Getty and Claude Debussy. Starting with Edgar Allen Poe.

The Merry Widow at Lyric Opera of Chicago

For its latest production of the current season Lyric Opera of Chicago is presenting Franz Lehár’s The Merry Widow (Die lustige Witwe) featuring Renée Fleming /Nicole Cabell as the widow Hanna Glawari and Thomas Hampson as Count Danilo Danilovich.

OPERA TODAY ARCHIVES »

Performances

Exaudi Vocal Ensemble
08 Nov 2013

Exaudi: O tenebroso giorno — Gesualdo then and now

One year since the launch of their project to create a contemporary book of Italians madrigals, vocal ensemble Exaudi returned to the Wigmore Hall to present an intermingling of old and new madrigals which was typically inventive, virtuosic and compelling.

Exaudi: O tenebroso giorno — Gesualdo then and now

A review by Claire Seymour

Above: Exaudi Vocal Ensemble

 

Carlo Gesualdo, Prince of Venosa, was the warp between which the weft threads of modernism were woven. Madrigalist, mannerist and master of harmonic ingenuity, the patrician composer’s contributions to the genre are remarkable for their harmonic capriciousness and volatility. Much is often made of the fact that one can add ‘murderer’ to the alliterative inventory of the composer’s roles, his violent despatch of his faithless wife and her lover earning him notoriety in the annals of music history; and, while such vengeful acts were in fact common in Renaissance Italian courts — indeed, the contemporary code of honour practically demanded them — it is perhaps not too fanciful to imagine that something of Gesualdo’s brooding, melancholic temperament is evident in the turbulent harmonic daring of his madrigals.

It has been suggested that Gesualdo’s harmonic adventurousness was inspired by his visits to Ferrara from 1594, where he was able to experiment upon the archicembalo with six keyboards that had been constructed by the court maestro Nicola Vicentino. But, it is just as likely that overhearing the vocal ensemble that Vicentino had trained in secrecy, in order to put into practice his own experimental theories of music, was the major influence in the formation of Gesualdo’s idiosyncratic idiom.

Gesualdo3.gifCarlo Gesualdo, Prince of Venosa [Source: Wikipedia]

Writing of a new edition of the madrigals published in1962, the musicologist Denis Stevens declared, ‘Five fine soloists, each with perfect intonation, not too much vibrato, and a really controlled line, would bring … [the] splendid pieces in this book to life’. ‘Dolcissima mia vita’ (Sweetness life of mine) immediately asserted the composer’s highly personal vein of chromatic irregularity, and five members of Exaudi , although they took a few minutes to settle, certainly brought vitality to the contrapuntal lines, ‘Credete forse che’l bel foco ond’ardo’ (Can you believe the fire that now scorches me), triggered by a buoyant countertenor line sung by Tom Williams.

The sliding chromatic resolutions of ‘Deh, come invan sospiro’ (Ah! How I sigh in vain) demonstrated the composer’s skill in expressing the struggle between violent, conflicting emotions, while the closing repetitions of ‘divenga morte’ (life for me has become death) spanned a spectrum of colours and moods, both rich and shadowy. In ‘Tu piangi, o Filli mia’ (You weep, O my Phyllis), the five voices blended agreeably; in an energetic rendition, the strong communication between the members of the quintet was evident in the vivid sectional contrasts that were achieved.

Gesualdo’s almost hypersensitive response to lyric emotions is unfailingly astonishing, as the individual vocal lines veer in unexpected directions, the linear discourses producing a questing, searching mood as dissonances are suspended and resolutions delayed. In ‘Itene, o miei sospiri’ (Go now, o my sighs) the sheer force of the harmonic energy was remarkable, building from the initial direct command, ‘Itene’, to the rich contrapuntal interweaving of the climax, before the relaxation of the concluding homophonic thirds. The deep register of the opening of ‘O tenebroso giorno’ (O dark day) was forbiddingly sombre, before the more uplifting harmonies of ‘Quando lieto ritorno/ Farai dinanzi a quella/Che è più d’ogni altra bella’ (When will you happily/ return to that beauty’s side/ who is more beautiful than any other) created a flowing lightness. The voices negotiated the unusual, challenging intervals of the melodic lines with pinpoint accuracy, and the final phrase possessed a pure air of expansiveness: ‘Che con suoi sguardi morte e vita appaga?’ (whose gaze satisfies both death and life?’).

The rich open vowel sounds of ‘O dolorosa gioia’ (Oh dolorous joy), sung with lustrous timbre, opened the second half of the recital; the five vocalists enjoyed the harmonic paradoxes used to convey the oxymoronic verse — unexpectedly easeful major harmonies suggest ‘soave dolore’ (sweet suffering), for example. The final line, ‘Poichè sì docle mi fa morto e vivo’ (for so sweetly it makes me feel both dead and alive) had both immediacy and aloofness. The fitful changes of mood of the brief ‘Moro, lasso’ (I die, alas), were powerfully communicated, the despairing cry, ‘Ahi, che m’ancide e non vuo!’ (oh, kills me and will not help me!), full of rhetorical directness.

Two madrigals à 6 brought the sequence to a close: ‘Tenebrae factae sunt’ (Darkness covered the earth) had both solemn depth and warmth, while the incessant suspensions and twists of ‘Caligaverunt oculi mei’ (My eyes are dimmed), particularly in the final homophonic section, were meticulously precise and moving.

Interspersed between the Renaissance treasures were four contemporary works; the present in conversation with the past. (The Gesualdo works were performed without conductor, while director James Weeks led the new madrigals). Stefano Gervanosi’s ‘Amore l’alma m’allaccia’ (Tasso, Love tightens my soul), for SSATB, was immensely challenging with its dense, iridescent sonorities and textures, the accumulating harmonic tension provocatively evoking the pain of ‘dolci aspre catene’ (sweet bitter chains). Repetition of miniature motifs built to an imitative frenzy, and the singers demonstrated rhythmic precision and expert ensemble in the more airy, fragmented closing section, the brief vocal snatches intimating the erotic tensions of the text.

Exaudi performed Michael Finnissy’s Sesto Libro di Carlo Gesualdo I in October 2012; at that time, I remarked the way the composer ‘exploited the sinuous false relations, suspensions and dissonances of the sixteenth-century idiom … explicitly intertwining elements of Gesualdo’s original with Finnissy’s own elaborations and developments’. Here, three later songs from the set were presented. The transparent texture of the 2-voice opening to III, ‘Beltà poi che t’assenti’ (My beauty, since you are gone) was enriched by piquant close dissonances, while the sustained lamenting lines of the end were affectingly shaped. IV, ‘Quel ‘no’ crudel che la mia speme ancise’ (That cruel ‘no’ which killed my hope), presented copious challenges for the two sopranos and for conductor, Weeks, whose broad loops emphatically marked the points of coincidence amid the free rhapsodic sweeps of the vocal lines, with their eerie glissandi and ululations. As the voices moved apart in register, the interplay between the burnished lower voice and the soaring high soprano effectively conveyed love’s power to ‘vince ogni core’ (conquer all hearts). A denser texture characterised VI, ‘Resta di darmi noia’ (Cease to give me annoyance), the five voices vividly articulating the opening text in homophonous broken rhythms; above a bed of sustained chords, tenor and soprano engaged in a veritable vocal battle of passion and bitterness: ‘Morta è per me la gioia,/ Onde sperar non lice/ D’esser mai più felice’ (For me all joy is dead, nor can I ever hope again to find happiness).

Christopher Fox’s ‘suo tormento’ (His torment) is a setting of an extract from Dante’s ‘Inferno’ Canto X, although as the composer’s programme note explained: ‘Dante’s text … is used only as a sound-source and in the score the source-word for each sound is given [in square brackets] to indicate how the underlaid letters should sound. The text is ‘read’ outwards from the centre … reading, as it were, into both past and future — and the music should sound like a doomed attempt to be understood.’ Certainly, the broken phrases expressed a sense of frustrated attempts to see and comprehend and a vexing impotence. Two shorts settings of Antonio Gramsci followed, the words set in more conventional fashion. ‘figura’, ‘hoketus’ and ‘kanon’ from Johannes Schöllhorn’s Madrigali a Dio (texts by Pier Paolo Pasolini) was the last of the modern offerings. Set for 6 voices these madrigals are cerebral works, ‘figura’ opening with a wave-like drone, with the voices freely and linearly interacting with each other in complex just intonation. ‘hoketus’ was energised and unpredictable, meaning conveyed by sound rather than sense, whirling glissandi and introverted ‘chattering’ representing ‘una sola/ Parola, una sola/ Parola ripete pazzamente’ (a single word, a single word madly repeats). The stratospheric soprano in ‘kanon’ was effortlessly delivered by Juliet Fraser, above an energetic counterpoint of male voices. Needless to say, these works demanded enormous precision of rhythm and pitch, perfect ensemble as well as vocal confidence; the members of Exaudi exhibited all these qualities in abundance.

I’ve previously expressed reservations, and I’m still not convinced, that director James Weeks’ inter-madrigal commentaries, though direct and engaging, are truly necessary or beneficial: for they weaken the continuity of the musical dialogue between past and present, a musical conversation which would be stronger if fluid and uninterrupted by the spoken word. But, in the final reckoning the music spoke for itself: the noble humanistic spirit of the Renaissance madrigal, underpinned by the potency of intense vocal expression, is alive and well.

Claire Seymour


Cast and production information:

James Weeks, director; Juliet Fraser, Amanda Morrison, soprano; Lucy Goddard, mezzo-soprano; Tom Williams, countertenor; Stephen Jeffes, Jonathan Bungard, tenor; Jonathan Saunders, Simon Whiteley, bass. Wigmore Hall, London, Wednesday 6th November 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):