02 Dec 2013
Weber’s Euryanthe, London
Poor Weber: opera companies, especially in England, do him anything but proud.
On Thursday evening October 13, Los Angeles Opera transmitted Giuseppe Verdi’s Macbeth live from the Dorothy Chandler Pavilion, in the center of the city, to a pier in Santa Monica and to South Gate Park in Southeastern Los Angeles County. My companion and I saw the opera in High Definition on a twenty-five foot high screen at the park.
“Hi! I’m at the Wigmore Hall!” American mezzo-soprano Jamie Barton’s exuberant excitement at finding herself performing in the world’s premier lieder venue was delightful and infectious. With accompanist James Baillieu, Barton presented what she termed a “love-fest” of some of the duo’s favourite art songs. The programme - Turina, Brahms, Dvořák, Ives, Sibelius - was also surely designed to show-case Barton’s sumptuous and balmy tone, stamina, range and sheer charisma; that is, the qualities which won her the First and Song Prizes at the 2013 BBC Cardiff Singer of the World Competition.
“If I lacked ears, it would be bad, but still more bearable; but lacking a nose, a man is devil knows what: not a bird, not a citizen—just take and chuck him out the window!”
A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure, this new production presents the plot as the dying protagonist’s feverish hallucinations. The result is a frosty retelling of what is arguably Puccini’s most hot-blooded opera. Musically, the performance also left much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang bergetar akan terhapus.” (“The transient cannot hold on to stars lost in the Milky Way; that which quivers will be erased.”) As soprano Tony Arnold sang these words of Tony Prabowo’s chamber opera Pastoral, with astonishingly crisp Indonesian diction, the first night of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
Manitoba Underground Opera took audiences on a journey — literally and figuratively — as it presented its latest installment of repertory opera between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.
We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.
Poor Weber: opera companies, especially in England, do him anything but proud.
And then, at least in the case of Euryanthe and Oberon, there is the matter of the dreadful libretti he had to set — presumably part of the reason why companies are unwilling to perform them. (Oddly, dreadful music seems to be less of a problem, given the lashings endured of Donizetti, Verdi, et al.) The best one can say for Helmina von Chezy’s efforts in Euryanthe is that they are merely awful, as opposed to the execrable text for Oberon.Lucky Weber, then, to receive such a fine performance as this from the valiant forces of the Chelsea Opera Group.
Conductor Cameron Burns and his excellent cast should receive equal credit for what I have no hesitation in describing as the best COG performance I have heard — by some distance. Burns’s reading ought to have been welcomed with open arms in any opera house; indeed, it would have signalled a marked improvement in most of what we hear. A refreshingly elegant, unexaggerated style — no frenetic waving around of arms to no evident end — did not in any sense preclude engagement with libretto, whatever its shortcomings, and score alike. It was surely testimony to sound training that soloists and chorus not only enunciated clearly, but for the most part seemed really to mean their words — even when the chorus was compelled to comment, without a trace of irony, that Euryanthe’s alleged betrayal of Adolar was the most grievous deed the world had ever witnessed: ‘ O Unthat, grässlichste von allen, Die jemals auf der Welt erhört!’ Burns’s handling of Weber’s score was perhaps all the more revelatory, not least since it is about the music that, perforce, we truly care. Line was maintained throughout. Not a single passage sounded unduly hurried or remotely meandering.
The Overture was an interesting case in point. It offered quite a contrast with, say, Karajan’s account, firmly melded into an almost granitic Wagnerian whole as it is — and mightily, even wondrously, impressive. Here, however, we heard a greater variety of moods, textures, and tempi, arguably more faithful to the movement’s role as apotpourri introduction to Weber’s opera (as opposed to Karajan’s concert overture) and to the composer’s conception, without danger of lapsing into the merely sectional. Presentiments — one has to remind oneself that they are not echoes! — of Mendelssohn characterised the very opening, but a darker form of the supernatural made its voice eerily heard in the ghost music. Weber’s musico-dramatic experiments were communicated with apparent ease, boundaries blurred but not obliterated between more old-fashioned set pieces and the ‘forward-looking’ — at least to any self-respecting Wagnerian — treatment of recitative and arioso. Above all, dramatic tension remained tight and proportions simply sounded ‘right’, a far more difficult task to accomplish than many might appreciate.
The chorus sometimes lacked a little in youthful vitality, especially earlier on, yet became more animated as the opera progressed, later sounding impressive indeed in the great close to the second act. Not unfittingly, it was at that point that the orchestra perhaps gained its greatest dramatic heights too, though throughout there was a great deal of impressive solo playing, especially from the woodwind. If only Weber’s clarinet writing were as meaningful in his concertos as it is here; he clearly needed a dramatic impetus to reach the heights of which he was capable. Moreover, the strings, if at times a little reticent earlier on, subsequently showed themselves adept at providing just the right sort of musical cushion for vocal recitatives. I could not help but wish that we had heard Burns at the helm for the COG Die Feen earlier this year, not least since the amount the two works have in common — not solely influence, though there is a good deal of that — became increasingly clear, as indeed did the influences, perceptible yet again not exaggerated, upon Tannhäuser and Lohengrin. (If only, I thought, Weber had had a dramatist such as Wagner to shape the relationship between Lysiart and Eglantine, we might have had a more telling taste still of Ortrud and Telramund. Meyerbeer’s Robert le Diable, appallingly misunderstood by many critics at Covent Garden last year, also came to mind more than once.)
Kirstin Sharpin’s star shone brightly in the tight role, words and music honoured to equal extent and indeed in fine alchemy. Hers was a portrayal both impassioned and noble, clearly longing to be properly ‘on stage’, yet offering considerable dramatic compensation even in concert. Sharpin’s cleanness of vocal line and dramatic commitment were shared by Camilla Roberts’s Eglantine. Tricky coloratura apparently evoked no fears; more importantly, such ambiguity as the libretto permitted was exploited to its dramatic fullest. Stephen Gadd likewise offered a finely honed portrayal of her accomplice, Lysiart, malevolent and sophisticated — again, insofar as the libretto permitted, but considerably more so than one would have likely have expected. Jonathan Stoughton revealed an often pleasing tenor as Adolar, drawing upon lyric and heroic reserves as required. This is clearly a voice which, if sensibly marshalled, will be in great demand for heroic roles; however, more careful phrasing was sometimes called for on this occasion. Richard Wiegold projected a benevolent voice of experience as the king, and Melinda Hughes’s brief appearance as the country girl, Bertha proved full of charm. All contributed to a performance that was very much more than the sum of its parts. Now will one of our opera companies — ideally, the Royal Opera — kindly take its cue and do its duty by Weber?
Cast and production information:
King Louis VI: Richard Wiegold; Adolar: Jonathan Stoughton; Euryanthe: Kirstin Sharpin; Lysiart: Stephen Gadd; Eglantine: Camilla Roberts; Bertha: Melinda Hughes; Chorus of the Chelsea Opera Group (chorus master: Deborah Miles-Johnson)/Orchestra of the Chelsea Opera Group/Cameron Burns (conductor). Cadogan Hall, London, Saturday 23 November 2013.