02 Dec 2013
Weber’s Euryanthe, London
Poor Weber: opera companies, especially in England, do him anything but proud.
Central City Opera celebrated the 60th anniversary of The Ballad of Baby Doe with a hip, canny, multi-faceted new production.
Someone forgot to tell Central City Opera that it would be difficult to fit Puccini’s (usually) architecturally large Tosca on their small stage.
A cast worthy of Bayreuth made for an unforgettable Wagnerian experience at the Sommer Festspiele in Baden-Baden.
Loving attention to the highest quality was everywhere evident in Des Moines Metro Opera’s Manon.
Des Moines Metro Opera had (almost) all the laughs in the right places, and certainly had all the right singers in these meaty roles to make for an enjoyable outing with Verdi’s masterpiece
With the thermometers reaching boiling point, there’s no doubt that summer has finally arrived in London. But, the sun seems to have been shining over the large marquee in Holland Park all summer.
J.S. Bach’s cerebral Art of the Fugue in Aix, Verdi’s massive Requiem in Orange, Ibn al-Muqaffa’ ‘s fable of the camel, jackal, wolf and crow, Sophocles’ blind Oedipus Rex and the Bible’s triumphant Psalm No. 150 in Aix.
The champagne corks popped at the close of this year’s Jette Parker Young Artists Summer Performance at the Royal Opera House, with Prince Orlofsky’s celebratory toast forming a fitting conclusion to some superb singing.
Bryn Terfel is making a habit of performing Russian patriarchs at the Proms.
What happens when just everything about an operatic performance goes joyously right?
Two years ago, the well-established Des Moines Metro Opera experimented with a 2nd Stages program, with performances programmed outside of their home stage at Simpson College.
What to make of the unannounced decision to open this concert with the Marseillaise? I am sure it was well intended, and perhaps should leave it at that.
In a fairy-tale, it can sometimes feel as if one is living a dream but on the verge of being awoken to a shock. Such is life in these dark and uncertain days.
The tense, three hour knock-down-drag-out seduction of Beauty by Pleasure consumed our souls in this triumphal evening. Forget Time and Disillusion as destructors, they were the very constructors of the beauty and pleasure found in this miniature oratorio.
Three parallel universes (before losing count) — the ephemeral Debussy/Maeterlinck masterpiece, the Debussy symphonic tone poem, and the twisted intricacies of a moldy, parochially English country estate.
This, alas, was where I had to sign off. A weekend conference on Parsifal (including, on the Saturday, a showing of Hans-Jürgen Syberberg’s Parsifal film) mean that I missed Götterdämmerung, skipping straight to the sequel.
The culmination of Opera North’s “Ring for Everyone”, this Götterdämmerung showed the power of the condensed movement so necessary in a staged performance - each gesture of each character was perfectly judged - as well as the visceral power of having Wagner’s huge orchestra on stage as opposed to the pit.
Michael Grandage's production of Mozart's Le nozze di Figaro, which was new in 2012, returned to Glyndebourne on 3 July 2016 revived by Ian Rutherford.
Said and done the audience roared its enjoyment of the performance, reserving even greater enthusiasm to greet stage director Christophe Honoré with applauding boos and whistles that bespoke enormous pleasure, complicity and befuddlement.
‘A century after the Somme, who still stands with Britain?’ So read a headline in yesterday’s Evening Standard on the eve of the centenary of the first day of that battle which, 141 days later, would grind to a halt with 1,200,000 British, French, German and Allied soldiers dead or injured.
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.