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

Prom 57: Semyon Bychkov conducts the BBCSO

Thomas Larcher’s Second Symphony (written 2015-16) here received its United Kingdom premiere, its first performance having been given by the Vienna Philharmonic and Semyon Bychkov in June this year. A commission from the Austrian National Bank for its bicentenary, it is nevertheless not a celebratory work, instead commemorating those refugees who have met their deaths in the Mediterranean Sea, ‘expressing grief over those who have died and outrage at the misanthropy at home in Austria and elsewhere’.

40 minutes with Barbara Hannigan...in rehearsal

One of the initiatives for the community at the Lucerne Festival is the ‘40 min’ series. A free concert given before the evening’s main event that ranges from chamber music to orchestral rehearsals.

Prom 54 - Mozart's Last Year with the Budapest Festival Orchestra

The mysteries and myths surrounding Mozart’s Requiem Mass - left unfinished at his death and completed by his pupil, Franz Xaver Süssmayr - abide, reinvigorated and prolonged by Peter Shaffer’s play Amadeus as directed on film by Miloš Forman. The origins of the work’s commission and composition remain unknown but in our collective cultural and musical consciousness the Requiem has come to assume an autobiographical role: as if Mozart was composing a mass for his own presaged death.

High Voltage Tosca in Cologne

I saw two operas consecutively at Oper Koln. First, the utterly bewildering Lucia di Lammermoor; then Thilo Reinhardt’s thrilling Tosca. His staging was pure operatic joy with some Hitchcockian provocations.

Haitink at the Lucerne Festival

Bernard Haitink’s monumental Bruckner and Mahler performances with the Royal Concertgebouw Orchestra (RCO) got me hooked on classical music. His legendary performance of Bruckner’s Symphony No. 8 in C-minor, where in the Finale loosened plaster fell from the Concertgebouw ceiling, is still recounted in Amsterdam.

BBC Prom 45 - Janáček: The Makropulos Affair

Karita Mattila was born to sing Emilia Marty, the diva around whom revolves Leoš Janáček's The Makropulos Affair (Věc Makropulos). At Prom 45, she shone all the more because she was conducted by Jirí Belohlávek and performed alongside a superb cast from the National Theatre, Prague, probably the finest and most idiomatic exponents of this repertoire.

Two Tales of Offenbach: Opera della Luna at Wilton's Music Hall

‘Two outrageous operas in one crazy evening,’ reads the bill. Hyperbole? Certainly not when the operas are two of Jacques Offenbach’s more off-the-wall bouffoneries and when the company is Opera della Luna whose artistic director, Jeff Clarke, is blessed with the comic imagination and theatrical nous to turn even the most vacuous trivia into a sharp and sassy riotous romp.

Britten Untamed! Glyndebourne: A Midsummer Night's Dream

This performance of Britten's A Midsummer Night's Dream at Glyndebourne was so good that it was the highlight of the whole season, making the term ‘revival’ utterly irrelevant. Jakub Hrůša is always stimulating, but on this occasion, his conducting was so inspired that I found myself closing my eyes in order to concentrate on what he revealed in Britten's quirky but brilliant score. Eyes closed in this famous production by Peter Hall, first seen in 1981?

Salzburg encores

A staged piano recital and an opera as a concert.  Pianist András Schiff accompanied the Salzburg Marionette Theater at the Mozarteum Grosser Saal and Anna Netrebko sang Manon Lescaut at the Grosses Festspielhaus.

Leah Crocetto at Santa Fe

On August 4, 2016, soprano Leah Crocetto and accompanist Tamara Sanikidze gave a recital at the Scottish Rite Center in Santa Fe New Mexico. A winner of the Metropolitan Opera Auditions and the BBC Cardiff Singer of the World Contest, this year Crocetto was singing Donna Anna in Santa Fe Opera’s excellent Don Giovanni.

Angela Meade at Sante Fe

On July 31, 2016, against the ethereal beauty of the main hall in the Scottish Rite Center, soprano Angela Meade and pianist Joe Illick gave a recital offering both opera and art songs ranging in origin from early nineteenth century Europe to mid twentieth century America. Many in the audience probably remembered Meade’s recent excellent portrayal of Norma at Los Angeles Opera.

Turco in Italia in Pesaro

When more is definitely more, and less would indeed be less. Two of the biggest names in Italian theater art collide in an eponymous theater.

Proms Chamber Music 5: Shakespeare at 400

It was the fifth Proms Chamber Music concert at Cadogan Hall this season, and we were celebrating Shakespeare’s 400th. And, given the extent and range of the composers and artists, and the diversity and profundity of the musical achievement inspired by the Bard, we could probably keep celebrating in this fashion ad infinitum.

La donna del lago in Pesaro

Each August the bleak and leaky, 12,000 seat Arena Adriatica (home of the famed Pesaro basketball team) magically transforms itself into an improvised opera house that boasts the ultimate in opera chic — exemplary Rossini production standards for its now twelve hundred seats.

Proms at … Sam Wanamaker Playhouse

This highly enjoyable Prom, part of 2016’s ‘Proms at …’ mini-series, took as its guiding concept the reopening of London’s theatres following the Restoration, focusing in particular upon musical and dramatic responses to Shakespeare. Purcell, rightly, loomed large, with John Blow and Matthew Locke joining him. Receiving their Proms premieres were the excerpts from Timon of Athens and those from Locke’s The Tempest.

Santa Fe: Straussian Sweet Nothings

With all the bombast of the presidential campaigns rattling in our heads, with invectives being exchanged and measured discussion all but absent, how utterly lovely to retreat and relax into the harmonious soundscape and well-reasoned debate posed in Strauss’ Capriccio, on magnificent display at Santa Fe Opera.

Santa Fe’s Civil War Gounod

When we entered the Crosby Theatre for Gounod’s Roméo et Juliette the stage was surprisingly dominated by a somber, semi-circular black mausoleum, many chambers inscribed with scrambled names of US Civil War era dead.

Coolly Elegant Vanessa in the Desert

Molten passions were seething just below the icy Nordic exterior of Santa Fe Opera’s wholly masterful production of Barber’s Vanessa.

Le Comte Ory, Seattle

Farce is probably the most difficult of dramatic comedy sub-genres to put across. A farce got up in the stately robes of opera sets its presenters an even higher bar. Presenting an operatic farce on a notoriously chilly and cavernous auditorium is to risk catastrophe.

Racette’s Golden Girl in New Mexico

Fan interest began raging when Santa Fe Opera engaged venerable artist Patricia Racette to make her role debut as Minnie in Puccini’s La Fanciulla del West.

OPERA TODAY ARCHIVES »

Performances

The Daughter of Jephthah by Alexandre Cabanel (1879) [Source: WikiPaintings]
17 Jan 2014

The Sixteen: Jephtha

Harry Christophers and The Sixteen brought Handel's final oratorio, Jephtha, to the Barbican (14 January 2014) preparatory to recording the work.

George Frideric Handel:: Jephtha Jephtha: James Gilchrist, Storge: Susan Bickley, Iphis: Sophie Bevan, Hamor: Robin Blaze, Zebul: Matthew Brook, Angel: Grace Davidson, The Sixteen, Harry Christophers: conductor,Tuesday 14 January 2014, The Barbican Centre, London

A review by Robert Hugill

Above: The Daughter of Jephthah by Alexandre Cabanel (1879) [Source: WikiPaintings]

 

The cast of experienced Handelians included James Gilchrist in the title role, with Susan Bickley as his wife Storge, Sophie Bevan as his daughter Iphis, Robin Blaze as her fiancée Hamor and Matthew Brook as Jephtha's brother Zebul. The result was a finely dramatic performance which bodes well for the recording, to be released later this year on the Coro label.

Handel's oratorio, with a libretto by Revd Thomas Morrell, was written not for the stage but for concert performance, and the intention was to point a moral via uplifting music. An important key to the libretto is Jephtha's family's reaction to the events. For this to work, they must be established as characters and so the first three scenes give us a sequence of arias, one for each of the five main characters, ending with a duet for the lovers Hamor and Iphis. It is not the most dramatic of sequences, and can be tricky to make work on stage.

One of the virtues of the Barbican performance was how each of the five singers, Matthew Brook, James Gilchrist, Susan Bickley, Robin Blaze and Sophie Bevan made their character count and made us feel that they and their music really mattered dramatically. This was particularly true with Robin Blaze's character Hamor. He is necessary in order to give Iphis a life that she will miss, but Hamor's actual music rarely takes plot or drama forward. Blaze brought a vivid sense of character to his performance.

Handel emphasises the group nature of the characters by giving, Iphis, Hamor, Storge and Jephtha a quartet of reaction to Jephtha's vow in Act 2; a remarkable and prescient piece of writing which is a genuine quartet with four different vocal characters. When Handel revived the work in 1753 he trimmed the end of Act 3 after the angel's appearance (Winton Dean is very dismissive of the arias at this point) and instead introduced a quintet. This was the version performed at the Barbican. This quintet is not a genuine one, instead it is a duet for Iphis and Hamor with a contributory coro from Storge, Jephtha and Zebul. A construction familiar from the conclusions of some of Handel's Italian operas.

James Gilchrist made an intense Jephtha, perhaps not quite so much the self-absorbed zealot that he was on stage at the Buxton Festival, but still with a profound sense of the character's inward religious certainty. Gilchrist is a fine and stylish Handelian, his opening aria, Virtue my soul, was fluidly fluent and sung with vivid, bright tone. But when the real drama started, with Jephtha's vow, Gilchrist sang the accompagnato with a powerful intensity. With His mighty arm at the beginning of Act 2, though a more conventional piece which Gilchrist sang with decisive confidence and fine passagework, he also brought a compelling intensity to it. In the recitative and aria, "Open thy marble jaws, O tomb", when Jephtha sees his daughter and realizes the result of his vow, Gilchrist combined drama with great musicality and made us hang on to every note.

Handel closes Act 2 with a truly remarkable sequence, Jephtha's accompagnato "Deeper and deeper still" followed by the chorus "How dark, O Lord, are Thy decrees". Gilchrist made the accompagnato fine-grained but dramatic, bringing a vivid power to his voice when necessary. Gilchrist brought flexibility and power to the role, with a certain focussed intensity and the result, in Deeper and deeper still, was finely moving. Act 3 opens with Jephtha's sequence of aria, "Hide thou thy hated beams", accompagnato and aria, "Waft her angels" with the latter aria being rightly famous. We were not disappointed here and Gilchrist sang with a lovely sense of line and profoundly beautifully tone. The fine expressiveness of the opening was transformed when Gilchrist unleashed real power in the middle section.

From the outset, Susan Bickley showed commitment and identification with her character, creating Storge from the first notes she sang. Her first aria, In gentle murmurs will I mourn was fabulously fluent but with an affecting edge to the timbre of her voice. Later in the act Handel and Morrell allow Storge to really develop with Scenes of horror, scenes of woe. Here Bickley started the aria with great technical poise and a nicely vivid feeling, then gradually developed so that the da capo was intense indeed. In Act 2, on hearing the result of Jephtha's vow, Storge has an accompagnato and aria which opens First perish though, and perish all the world and her Bickley virtually spat the words out. But one of the virtues of her performance was that, though she had a clear sense of the drama, it was always with the confines of what Handel wrote; she used the music to achieve her ends quite vividly without ever distorting the vocal line.

Sophie Bevan brought a grave and sombre beauty to the role of Iphis. The character gets some charming and pastoral music, but there was little sense of the flirtatious tone which some singers use. Instead Bevan was thoughtful from the first. Take the heart you fondly gave in Act 1 was graceful yet sober. Later in the act The smiling dawn of happy days was lively and full of wholesome charm, plus there was some fabulous passage-work. In Act 2, Tune the soft melodious lute was sung with fine grained beauty, complemented with some fine flute playing Welcome as the cheerful light when she greets her father was simply lovely, a fine counterpoint to Jephtha's dramatic reaction. Her reaction to the vow in that act was an accompagnato full of resigned acceptance followed by a plangently sung aria, Happy they which was direct, simple and very moving. Her farewell in Act 3, Farewell, ye limpid springs and floods was finely done, again full of a grave and sombre beauty.

Robin Blaze's account of Hamor's first aria," Dull delay, in piercing anguish" was surprisingly characterful and full of an appealing and gentle ardour which characterized his whole performance. Blaze's and Bevan's duet in Act 1 was full of charm with the two voices moving finely in concert, complemented by rhythmic interest in the strings. Hamor's aria at the beginning of Act 2, Up the dreadful steep ascending, after he has recounted the outcome of the battle, was sung by Blaze with great technical facility, but he was also very vivid, making the aria seem dramatically valid rather than holding things up. This was also true of On me let blind mistaken zeal, Hamor's reaction to the results of Jephtha's vow, and which Blaze made you feel that the piece really mattered.

Matthew Brook's Zebul got his big moment at the beginning, with his accompagnato and aria "Pour forth no more unheeded prayers". Brook sang with great commitment and a nicely focussed, grainy baritone voice. His later contributions were restricted to recitative, the quintet, but no less fine for that.

The quartet was superbly done, the four singers Bevan, Bickley, Blaze and Gilchrist giving full power to Handel's remarkable writing.Grace Davidson, from the choir, was the Angel, giving a nicely poised account of her aria.

The Sixteen sang with their familiar commitment and energy. The choruses in Jephtha are not the showiest that Handel wrote, instead we get some writing of extraordinary power and intensity to which the chorus responded with fine control and brilliant sense of drama. The chorus which closes Act 2 has a very striking structure and her the singers gave us a performance of grave and sober beauty.

Christophers and the orchestra brought a nice rhythmic crispness and great vividness to the playing from the first notes of the overture with some notable solo moments for various instruments. Christophers used harp, theorbo, harpsichord and organ for the continue which gave us a nice variety of textures, though I am not sure whether the inclusion of a harp in the line-up would please purists.

The programme book included a fine essay by Ruth Smith and came complete with printed words, no projected surtitles here thank goodness. The performance was done with a single interval, after Act 1, and I have to say that I still think that these pieces work best with two intervals.

This was a finely compelling performance of one of Handel's major works and I certainly look forward to the recording. It was dedicated to the memory of Winton Dean, the great writer on Handel (and many other things) who died last year

Robert Hugill

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):