22 Feb 2014
Benjamin Britten: Paul Bunyan
In a 1960 BBC interview, Britten explained to Lord Harewood: ‘I was very much influenced by [W.H.] Auden
Opera San Jose has capped a wholly winning season with an emotionally engaging, thrillingly sung, enticingly fresh rendition of Puccini’s immortal masterpiece La bohème.
On Saturday evening April 22, 2017, San Diego Opera presented Giuseppe Verdi’s La traviata at the Civic Theater. Director Marta Domingo updated the production from the constrictions of the nineteenth century to the freedom of the nineteen twenties. Violetta’s fellow courtesans and their dates wore fascinating outfits and, at one point, danced the Charleston to what looked like a jazz combo playing Verdi’s score.
Thomas Adès’s third opera, The Exterminating Angel, is a dizzying, sometimes frightening, palimpsest of texts (literary and cinematic) and music, in which ceaseless repetitions of the past - inexact, ever varying, but inescapably compulsive - stultify the present and deny progress into the future. Paradoxically, there is endless movement within a constricting stasis. The essential elements collide in a surreal Sartrean dystopia: beasts of the earth (live sheep and a simulacra of a bear) roam, a disembodied hand floats through the air, water spouts from the floor and a burning cello provides the flames upon which to roast the sacrificial lambs. No wonder that when the elderly Doctor tries to restore order through scientific rationalism he is told, “We don't want reason! We want to get out of here!”
Is A Dog’s Heart even an opera? It is sung by opera singers to live music. Alexander Raskatov’s score, however, is secondary to the incredible stage visuals. Whatever it is, actor/director Simon McBurney’s first stab at opera is fantastic theatre. Its revival at Dutch National Opera, where it premiered in 2010, is hugely welcome.
I kept hearing from knowledgeable opera fanatics that the Israeli Opera (IO) in Tel Aviv was a surprising sure bet. So I made my way to the Homeland to hear how supposedly great the quality of opera was. And man, I was in for treat.
At Phoenix’s Symphony Hall on Friday evening April 7, Arizona Opera offered its final presentation of the 2016-2017 season, Gioachino Rossini’s Cinderella (La Cenerentola). The stars of the show were Daniela Mack as Cinderella, called Angelina in the opera, and Alek Shrader as Don Ramiro. Actually, Mack and Shrader are married couple who met singing these same roles at San Francisco Opera.
On Saturday evening April 1, 2017, Placido Domingo and Los Angeles Opera celebrated their tenth year of training young opera artists in the Domingo-Colburn-Stein Program. From the singing I heard, they definitely have something of which to be proud.
The town’s name itself “Baden-Baden” (named after Count Baden) sounds already enticing. Built against the old railway station, its Festspielhaus programs the biggest stars in opera for Germany’s largest auditorium. A Mecca for music lovers, this festival house doesn’t have its own ensemble, but through its generous sponsoring brings the great productions to the dreamy idylle.
The Festspielhaus in Baden-Baden pretty much programs only big stars. A prime example was the Fall Festival this season. Grigory Sokolov opened with a piano recital, which I did not attend. I came for Cecilia Bartoli in Bellini’s Norma and Christian Gerhaher with Schubert’s Die Winterreise, and Anne-Sophie Mutter breathtakingly delivering Mendelssohn’s Violin Concerto together with the London Philharmonic Orchestra. Robin Ticciati, the ballerino conductor, is not my favorite, but together they certainly impressed in Mendelssohn.
Mahler as dramatist! Mahler Symphony no 8 with Vladimir Jurowski and the London Philharmonic Orchestra at the Royal Festival Hall. Now we know why Mahler didn't write opera. His music is inherently theatrical, and his dramas lie not in narrative but in internal metaphysics. The Royal Festival Hall itself played a role, literally, since the singers moved round the performance space, making the music feel particularly fluid and dynamic. This was no ordinary concert.
Imagine a fête galante by Jean-Antoine Watteau brought to life, its colour and movement infusing a bucolic scene with charm and theatricality. Jean-Philippe Rameau’s opéra-ballet Les fêtes d'Hébé, ou Les talens lyriques, is one such amorous pastoral allegory, its three entrées populated by shepherds and sylvans, real characters such as Sapho and mythological gods such as Mercury.
Whatever one’s own religious or spiritual beliefs, Bach’s St Matthew Passion is one of the most, perhaps the most, affecting depictions of the torturous final episodes of Jesus Christ’s mortal life on earth: simultaneously harrowing and beautiful, juxtaposing tender stillness with tragic urgency.
Lindy Hume’s sensational La bohème at the Berliner Staatsoper brings out the moxie in Puccini. Abdellah Lasri emerged as a stunning discovery. He floored me with his tenor voice through which he embodied a perfect Rodolfo.
Listening to Moritz Eggert’s Caliban is the equivalent of watching a flea-ridden dog chasing its own tail for one-and-half hours. It scratches, twitches and yelps. Occasionally, it blinks pleadingly, but you can’t bring yourself to care for such a foolish animal and its less-than-tragic plight.
A large audience packed into the Wigmore Hall to hear the two Baroque rarities featured in this melodious performance by Christian Curnyn’s Early Opera Company. One was by the most distinguished ‘home-grown’ eighteenth-century musician, whose music - excepting some of the lively symphonies - remains seldom performed. The other was the work of a Saxon who - despite a few ups and downs in his relationship with the ‘natives’ - made London his home for forty-five years and invented that so English of genres, the dramatic oratorio.
On March 24, 2017, Los Angeles Opera revived its co-production of Jacques Offenbach’s The Tales of Hoffmann which has also been seen at the Mariinsky Opera in Leningrad and the Washington National Opera in the District of Columbia.
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Calliope Tsoupaki’s latest opera, Fortress Europe, premiered as spring began taming the winter storms in the Mediterranean.
To celebrate its 40th anniversary New Sussex Opera has set itself the challenge of bringing together the six scenes - sometimes described as six discrete ‘tone poems’ - which form Delius’s A Village Romeo and Juliet into a coherent musico-dramatic narrative.
Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.
In a 1960 BBC interview, Britten explained to Lord Harewood: ‘I was very much influenced by [W.H.] Auden
He went to America, I think it was ‘38, early ‘39, and I went soon after. I think it wouldn’t be too much oversimplifying the situation to say that many of us young people at the time felt that Europe was more or less finished I went to America and felt that I would make my future there.’ (Letters from a Life, vol.1, eds. Mitchell and Reed, p.619).
Premiered in May 1941 in the Brander Matthews Hall at Columbia University, Paul Bunyan — the ‘choral operetta’ that Britten and Auden created on the quintessentially American theme of the legend of the eponymous pioneering lumberjack — might be seen as a naïve attempt to beguile: an offering intended to confirm their artistic credentials for American citizenship. But it also hinted at the challenges ahead for a nation built upon a Dream, as its people learn that they must balance individual choice with the need to tolerate ‘difference’ and protect the ‘outsider’.
Piotr Lempa (Ben Benny) and Stuart Haycock (Sam Sharkey)
It is a challenge to make something coherent of a work which offers both an uplifting parable and symbolic inferences; both light-hearted Broadway gags and more biting Thirties’ socialism. Britten’s score is an appealing medley of deft pastiches — blues quartet, country and western ballad, jazz lament, Gilbert and Sullivan comedy — each idiom following the next in quick succession, with the odd extravagant Donizettian-duet thrown into the mix; but the narrative thread is rather weak and the allegory at times ambiguous.
For this ETO production, director Liam Steel and set/costume designer Anna Fleischle opted to keep things fairly simple, housing all the action in an orthodox Loggers’ Cabin, and moving swiftly between the multifarious numbers in the manner of a slick Broadway musical. Even the Western Union Boy (tenor Matt R. J. Ward) was keen to get into the act, excitedly executing a polished table-top routine that would not have shamed Fred Astaire.
Singing the limpid, swinging motif that is one of the few uniting elements of the score, the unison chorus seemed a little slow to get going; but maybe this is the point — for the soporific way of life of the ‘Old Trees’ (represented by tall timbers of wood), before man’s arrival on earth, is overturned in this opening ensemble by the ambition and energy of the impatient ‘Young Trees’ (shorter burgeoning planks). In full voice by the end of the number, the ETO chorus was impressively resonant, foreshadowing an even more resplendent pinnacle, ‘O great day of discovery’, in Act 2.
Steel has decided to capitalise upon the fact that, while there is not much of a narrative thread, there are lots of terrific individual musical numbers in which Britten shows off his prowess as a master of pastiche and parody. The choreography was slick, particularly given the limits of the stage space; this is a genuine ‘company’ work, with the soloists coming forth from the chorus, and the ensemble numbers were the highpoint. Especially notable were the lumberjacks’ chorus in Act 1 in Act 1 — which utilised many a hackneyed Broadway gag to cheerful effect — the Quartet of Swedes, and the loggers’ hyperbolic, competitive rivalry for Tiny’s attention.
One of the challenges for a director is how to present the oversized eponymous hero who never actually appears on stage. Paul Bunyan is less a ‘character’ than an embodiment of man’s glorious spirit of conquest; but he is a static element in the drama and presents difficulties with regard to the integration of his projected, disembodied voice with the drama seen on stage. Steel had an ingenuous solution: as the tale of his birth and life was told by the collective gathering, Bunyan’s growth — from ‘six inches’, he gained ‘346 pounds every week’ and ‘grew so fast, by the time he was eight/ He was at tall as the Empire State’ — was illustrated by the ascending top hat of Uncle Sam which, bedecked with red and blue band, was lifted ever higher by successive members of the company, a metaphor for Bunyan and a personification of the emergent nation. Subsequently, the awe-struck loggers addressed their champion with gazes striving upwards, a rickety ladder adorned with a bedraggled Star-Spangled Banner pointing to a distant pinnacle of aspiration. Bunyan’s words were intoned sonorously but without sententiousness by Damian Lewis.
Tenor Mark Wilde skilfully conveyed the reflective introspection of Johnny Inkslinger, the brooding ‘book keeper’, using a tender voice and expressive nuance most sensitively. In his big Act 1 number, ‘Inkslinger’s Song’, in which the troubled outsider reflects on the irreconcilable gap between the simplicity of nature and the complexity of human culture, Wilde’s tone and projection grew in a controlled fashion as the melody expanded from recitative-like declamation to arioso outpouring. Although he was at times a little pushed at the top, Wilde created a convincingly rounded character, a man capable of complexity of feeling. Seated on a bunk, alone in the cabin, in Inkslinger’s ‘Regret’, his despair in the face of the conflict between hope and misfortune was poignant in its simplicity of articulation.
Elsewhere there was indulgent exuberance. Crooning an Italianate ‘Cooks’ duet’, bass Piotr Lempa (Ben Benny) and tenor Stuart Haycock (Sam Sharkey) were deliciously camp. They made sure that we were aware that Auden’s slick satire on vulgarity of an advertising culture which plays upon our insecurities — ‘The Best People are crazy about soups! Beans are all the rage among the Higher Income Groups!’ — is just as apt now as in the 1930s.
The animal roles, cast for female voices, provide a welcome complement to the rugged male voices that predominate, and Abigail Kelly, as the dog Fido, and Amy J. Payne and Emma Watkinson, as the felines Moppet and Poppet, were both alluring of voice and edgy of character: when feisty Fido joined the courtesan cats in a piquant denouncement of social ills in the Act 2 ‘Litany’, their appeal ‘Save animals and men’, made an impact. As the loafer-flapping Geese, a form of life half-way between the trees and mankind, Lorna Bridge, Annabel Mountford and Hannah Sawle also sang with vocal precision and dramatic impact.
Many of these characters in this nascent nature are not only searching for their future paths but also for their inner selves. Tenor Ashley Catling revealed a thoughtfulness hidden by the logger’s brawn in Slim’s Song, as he lamented, ‘I must hunt my shadow/ And the self I lack’. Baritone Wyn Pencarreg was splendid as the bewildered foreman Hel Helson, a dull dunderhead who is bewildered by life’s turns and tribulations. Pencarreg blindly blustered in ‘The Mocking of Hel Helson’, brutally asserting ‘versions’ of his self — ‘Helson the Brave, the Fair, the Wise ’ — but also winning our sympathy.
Helsons’s violent, futile assault on Bunyan is juxtaposed with the love duet of Slim and Tiny, the latter role sung with sweet clarity and warmth by mezzo soprano Caryl Hughes. Steel placed the frolicking lovers and the felled logger on top and lower bunk respectively, surrounded by a chorus by turns mournful then scornful — a delightful comic juxtaposition.
One detail which failed to convince was the sharing of the Narrator’s ballads between Inkslinger and the company. It’s true that by allowing the members of the collective to take successive lines of the guitar-accompanied ballads, Steel allowed them to tell their own tale; but, the balladeer can lend a useful ironic distance and serve as narrative link between the essentially stand-alone numbers. And, Inkslinger himself is at one remove from the collective, a man of words and thoughts, reflecting on his actions and motives, achievements and future paths, much like Auden himself at this time; he is decidedly not one of the herd.
In the rather dry acoustic of the Linbury Studio Theatre, Britten’s economical woodwind-based orchestration provided a fitting commentary on the vocal numbers; this was especially so in Inskslinger’s numbers. The ETO orchestra was placed behind the back wall of the cabin, but the woodwind pierced through crisp and clear, although some of the string resonance was sacrificed. Conductor Philip Sunderland kept things moving along with many a well-judged tempo: the jazz-inspired ‘Quartet of the Defeated’ was aptly funereal.
There are dark undertones in this operetta, though: ‘Inkslinger’s Song’ concludes with an outpouring of the social conscience of the 1930s: ‘Oh, but where are the beautiful places/ Where what you begin you complete,/ Where the joy shine out of men’ faces,/ And all get sufficient to eat?’. For all its virtues, Steel’s rather homespun reading didn’t always capture this aspect. Indeed, Paul Bunyan’s ‘Goodnight’ which closes Act 1 (a passage which was added by Britten during revisions to the score in 1974) put me in mind of the 1970s television show The Waltons — as darkness fell and the lapping dog quietened, I half expected to hear ‘G’night John-Boy’ echoing from the loggers’ bunks!
Mark Wilde (Johnny Inkslinger)
One of the side-effects of the almost relentlessly up-beat feeling was that moments of stillness and import did not always make their full impact. One of the most powerful musico-dramatic moments comes in the opening scene when ‘the whole pattern of life is altered’ and ‘the moon turns blue’: the logger who enthusiastically slapped blue paint on the cog-wheel perched high up the cabin wall raised a wry titter, but I’m not sure that this really captured the romance of Britten’s ethereal ‘gamelan’ colours and harmonies.
Similarly, at the end, Bunyan’s final words to the emergent nation were somewhat lost, as the party-goers began clearing up the debris of the celebration. Perhaps Steel was making a subtle point: Bunyan says, ‘America is what you do/ America is I and you, /America is what you choose to make it’, but these Americans did not listen and failed to recognise their responsibilities, individual and collective. In the closing moments, Steel attempted to add some political depth to the production. If the action had already suggested that the American Dream was flawed at the start, then the future certainly did not look good for these loggers, judging by the contents of the wicker basket left by Bunyan for the loggers, like a prophesy to be resignedly accepted or actively resisted. Bent intently, and to the incredulity of the onlookers, Inkslinger withdrew first a pistol, then a lurid Guantanamo jumpsuit, followed by an overly large Bible (presaging the influence of the Christian Right?), a shabby copy of Playboy, some fast food wrappers, a lap-top, a periwig and noose. This chain of emblems of the institutions of state and finance spoke powerfully. The final image of black soprano Abigail Kelly, draped with a crumpled Stars and Stripes, was a poignant one.
English Touring Opera’s productions of King Priam, Paul Bunyan and The Magic Flute continue at the Linbury Studio Theatre until 22nd February and then tour until 31st May. See www.englishtouringopera.org.uk for further details.
Cast and production information:
Paul Bunyan, Damian Lewis; Jonny Inkslinger, Mark Wilde; Hel Helson, Wyn Pencarreg; Tiny, Caryl Hughes; Hot Biscuit Slim, Ashley Catling; Sam Sharkey/Andy Anderson, Stuart Haycock; Ben Benny, Piotr Lempa; Fido, Abigail Kelly; Moppet, Amy J Payne; Poppet/Moon, Emma Watkinson; Western Union Boy, Matt R J Ward; John Shears/Blues Singer, Adam Tunnicliffe; Cross Crosshaulson/Farmer Matthew Sprange; Blues Singer/Crony, Johnny Herford; Blues Singer/Crony, Henry Manning; Jen Jenson/Crony, Maciek O’Shea; Pete Peterson, Simon Gfeller; Goose/Wind, Hannah Sawle; Goose, Lorna Bridge; Goose/Heron, Annabel Mountford; Blues Singer/Squirrel, Helen Johnson; Beetle, Susan Moore; Young Tree/Boy, Emily-Jane Thomas; Conductor, Philip Sunderland; Director, Liam Steel; Designer, Anna Fleischle; Lighting Designer, Guy Hoare; Assistant Director, Dafydd Hall Williams. Linbury Studio Theatre, Royal Opera House, Covent Garden, London, Wednesday 19th February 2014.