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

Nico Muhly's Marnie at ENO

Winston Graham’s 1961 novel Marnie was bold for its time. Its themes of sexual repression, psychological suspense and criminality set within the dark social fabric of contemporary Britain are but outlier themes of the anti-heroine’s own narrative of deceit, guilt, multiple identities and blackmail.

TOSCA: A Dramatic Sing-Fest

On November 12, 2017, Arizona Opera presented Giacomo Puccini’s verismo opera, Tosca, in a dramatic production directed by Tara Faircloth. Her production utilized realistic scenery from Seattle Opera and detailed costumes from the New York City Opera. Gregory Allen Hirsch’s lighting made the set look like the church of St. Andrea as some of us may have remembered it from time gone by.

The Lighthouse: Shadwell Opera at Hackney Showroom

‘Only make the reader’s general vision of evil intense enough … and his own experience, his own imagination, his own sympathy … and horror … will supply him quite sufficiently with all the particulars. Make him think the evil, make him think it for himself, and you are released from weak specifications.’

Elisabeth Kulman sings Mahler's Rückert-Lieder with Sir Mark Elder and the Britten Sinfonia

Austrian singer Elisabeth Kulman has had an interesting career trajectory. She began her singing life as a soprano but later shifted to mezzo-soprano/contralto territory. Esteemed on the operatic stage, she relinquished the theatre for the concert platform in 2015, following an accident while rehearsing Tristan.

Tremendous revival of Katie Mitchell's Lucia at the ROH

The morning sickness, miscarriage and maundering wraiths are still present, but Katie Mitchell’s Lucia di Lammermoor, receiving its first revival at the ROH, seems less ‘hysterical’ this time round - and all the more harrowing for it.

Manon in San Francisco

Nothing but a wall and a floor (and an enormous battery of unseen lighting instruments) and two perfectly matched artists, the Manon of soprano Ellie Dehn and the des Grieux of tenor Michael Fabiano, the centerpiece of Paris’ operatic Belle Époque found vibrant presence on the War Memorial stage.

A beguiling Il barbiere di Siviglia from GTO

I had mixed feelings about Annabel Arden’s production of Il barbiere di Siviglia when it was first seen at Glyndebourne in 2016. Now reprised (revival director, Sinéad O’Neill) for the autumn 2017 tour, the designs remain a vibrant mosaic of rich hues and Moorish motifs, the supernumeraries - commedia stereotypes cum comic interlopers - infiltrate and interact even more piquantly, and the harpsichords are still flying in, unfathomably, from all angles. But, the drama is a little less hyperactive, the characterisation less larger-than-life. And, this Saturday evening performance went down a treat with the Canterbury crowd on the final night of GTO’s brief residency at the Marlowe Theatre.

Brett Dean's Hamlet: GTO in Canterbury

‘There is no such thing as Hamlet,’ says Matthew Jocelyn in an interview printed in the 2017 Glyndebourne programme book. The librettist of Australian composer Brett Dean’s opera based on the Bard’s most oft-performed tragedy, which was premiered to acclaim in June this year, was noting the variants between the extant sources for the play - the First, or ‘Bad’, Quarto of 1603, which contains just over half of the text of the Second Quarto which published the following year, and the First Folio of 1623 - no one of which can reliably be guaranteed superiority over the other.

WNO's Russian Revolution series: the grim repetitions of the house of the dead

‘We lived in a heap together in one barrack. The flooring was rotten and an inch deep in filth, so that we slipped and fell. When wood was put into the stove no heat came out, only a terrible smell that lasted through the winter.’ So wrote Dostoevsky, in a letter to his brother, about his experiences in the Siberian prison camp at Omsk where he was incarcerated between 1850-54, because of his association with a group of political dissidents who had tried to assassinate the Tsar. Dostoevsky’s ‘house of the dead’ is harrowingly reproduced by Maria Björsen’s set - a dark, Dantesque pit from which there is no possibility of escape - for David Pountney’s 1982 production of Janáček’s final opera, here revived as part of Welsh National Opera’s Russian Revolution series.

The 2017 Glyndebourne Tour arrives in Canterbury with a satisfying Così fan tutte

A Così fan tutte set in the 18th century, in Naples, beside the sea: what, no meddling with Mozart? Whatever next! First seen in 2006, and now on its final run before ‘retirement’, Nicholas Hytner’s straightforward account (revived by Bruno Ravella) of Mozart’s part-playful, part-piquant tale of amorous entanglements was a refreshing opener at the Marlowe Theatre in Canterbury where Glyndebourne Festival Opera arrived this week for the first sojourn of the 2017 tour.

Richard Jones's Rodelinda returns to ENO

Shameless grabs for power; vicious, self-destructive dynastic in-fighting; a self-righteous and unwavering sense of entitlement; bruised egos and integrity jettisoned. One might be forgiven for thinking that it was the current Tory government that was being described. However, we are not in twenty-first-century Westminster, but rather in seventh-century Lombardy, the setting for Handel’s 1725 opera, Rodelinda, Richard Jones’s 2014 production of which is currently being revived at English National Opera.

Amusing Old Movie Becomes Engrossing New Opera

Director Mario Bava’s motion picture, Hercules in the Haunted World, was released in Italy in November 1961, and in the United States in April 1964. In 2010 composer Patrick Morganelli wrote a chamber opera entitled Hercules vs. Vampires for Opera Theater Oregon.

Rigoletto at Lyric Opera of Chicago

If a credible portrayal of the title character in Giuseppe Verdi’s Rigoletto is vital to any performance, the success of Lyric Opera of Chicago’s current, exciting production hinges very much on the memorable court jester and father sung by baritone Quinn Kelsey.

Wexford Festival Opera 2017

‘What’s the delay? A little wind and rain are nothing to worry about!’ The villagers’ indifference to the inclement weather which occurs mid-way through Jacopo Foroni’s opera Margherita - as the townsfolk set off in pursuit of two mystery assailants seen attacking a man in the forest - acquired an unintentionally ironic slant in Wexford Opera House on the opening night of Michael Sturm’s production, raising a wry chuckle from the audience.

The Genius of Purcell: Carolyn Sampson and The King's Consort at the Wigmore Hall

This celebration of The Genius of Purcell by Carolyn Sampson and The King’s Consort at the Wigmore Hall was music-making of the most absorbing and invigorating kind: unmannered, direct and refreshing.

Classical Opera/The Mozartists celebrate 20 years of music-making

Classical Opera celebrated 20 years of music-making and story-telling with a characteristically ambitious and eclectic sequence of musical works at the Barbican Hall. Themes of creation and renewal were to the fore, and after a first half comprising a variety of vocal works and short poems, ‘Classical Opera’ were succeeded by their complementary alter ego, ‘The Mozartists’, in the second part of the concert for a rousing performance of Beethoven’s Choral Symphony - a work described by Page as ‘in many ways the most iconic work in the repertoire’.

Back to Baroque and to the battle lines with English Touring Opera

Romeo and Juliet, Rinaldo and Armida, Ramadès and Aida: love thwarted by warring countries and families is a perennial trope of literature, myth and history. Indeed, ‘Love and war are all one,’ declared Miguel de Cervantes in Don Quixote, a sentiment which seems to be particularly exemplified by the world of baroque opera with its penchant for plundering Classical Greek and Roman myths for their extreme passions and conflicts. English Touring Opera’s 2017 autumn tour takes us back to the Baroque and back to the battle-lines.

Gluck’s Orphée et Eurydice at Lyric Opera of Chicago

Christoph Willibald von Gluck’s Orphée et Eurydice opened the 2017–18 season at Lyric Opera of Chicago.

Michelle DeYoung, Mahler Symphony no 3 London

The Third Coming ! Esa-Pekka Salonen conducted Mahler Symphony no 3 with the Philharmonia at the Royal Festival Hall with Michelle DeYoung, the Philharmonia Voices and the Tiffin Boys’ Choir. It was live streamed worldwide, an indication of just how important this concert was, for it marks the Philharmonia's 34-year relationship with Salonen.

King Arthur at the Barbican: a semi-opera for the 'Brexit Age'

Purcell’s and Dryden’s King Arthur: or the British Worthy presents ‘problems’ for directors. It began life as a propaganda piece, Albion and Albanius, in 1683, during the reign of Charles II, but did not appear on stage as King Arthur until 1691 when William of Orange had ascended to the British Throne to rule as William III alongside his wife Mary and the political climate had changed significantly.

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):