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

Kaufmann's first Otello: Royal Opera House, London

Out of the blackness, Keith Warner’s new production of Verdi’s Otello explodes into being with a violent gesture of fury. Not the tempest raging in the pit - though Antonio Pappano conjures a terrifying maelstrom from the ROH Orchestra and the enlarged ROH Chorus hurls a blood-curdling battering-ram of sound into the auditorium. Rather, Warner offers a spot-lit emblem of frustrated malice and wrath, as a lone soldier fiercely hurls a Venetian mask to the ground.

Don Carlo in Marseille

First mounted in 2015 at the Opéra National de Bordeaux this splendid Don Carlo production took stage just now at the Opéra de Marseille with a completely different cast and conductor. This Marseille edition achieved an artistic stature rarely found hereabouts, or anywhere.

Diamanda Galás: Savagery and Opulence

Unconventional to the last, Diamanda Galás tore through her Barbican concert on Monday evening with a torrential force that shattered the inertia and passivity of the modern song recital. This was operatic activism, pure and simple. Dressed in metallic, shimmering black she moved rather stately across the stage to her piano - but there was nothing stately about what unfolded during the next 90 minutes.

Schubert Wanderer Songs - Florian Boesch, Wigmore Hall

A summit reached at the end of a long journey: Florian Boesch and Malcolm Martineau at the Wigmore Hall, as the two-year Complete Schubert Song series draws to a close. Unmistakably a high point in the whole traverse. A well-planned programme of much-loved songs performed exceptionally well, with less well known repertoire presented with intelligent flourish.

La Bohème in San Francisco

In 2008 it was the electrifying conducting of Nicola Luisotti and the famed Mimì of Angela Gheorghiu, in 2014 it was the riveting portrayals of Michael Fabbiano’s Rodolfo and Alexey Markov’s Marcelo. Now, in 2017, it is the high Italian style of Erika Grimaldi’s Mimì — and just about everything else!

A heart-rending Jenůfa at Grange Park Opera

Katie Mitchell’s 1998 Welsh National Opera production of Janáček’s first mature opera, Jenůfa, is a good choice for Grange Park Opera’s first season at its new home, West Horsley Place. Revived by Robin Tebbutt, Mitchell and designer Vicki Mortimer’s 1930s urban setting emphasises the opera’s lack of sentimentality and subjectivism, and this stark realism is further enhanced by the narrow horseshoe design of architect Wasfi Kani’s ‘Theatre in the Woods’ whose towering walls and narrow width seem to add further to the weight of oppression which constricts the lives of the inhabitants.

Pelléas et Mélisande at Garsington Opera

“I am nearer to the greatest secrets of the next world than I am to the smallest secrets of those eyes!” So despairs Golaud, enflamed by jealousy, suspicious of his mysterious wife Mélisande’s love for his half-brother Pelléas. Michael Boyd’s thought-provoking new production of Debussy’s Pelléas et Mélisande at Garsington Opera certainly ponders plentiful secrets: of the conscience, of the subconscious, of the soul. But, with his designer Tom Piper, Boyd brings the opera’s dreams and mysteries into landscapes that are lit, symbolically and figuratively, with precision.

Carmen: The Grange Festival

The Grange Festival, artistic director Michael Chance, has opened at Northington Grange giving everyone a chance to see what changes have arisen from this change of festival at the old location. For our first visit we caught the opening night of Annabel Arden's new production of Bizet's Carmen on Sunday 11 June 2017. Conducted by Jean-Luc Tingaud with the Bournemouth Symphony Orchestra in the pit, the cast included Na'ama Goldman as Carmen, Leonardo Capalbo as Don Jose, Shelley Jackson as Micaela and Phillip Rhodes as Escamillo. There were also two extra characters, Aicha Kossoko and Tonderai Munyevu as Commere and Compere. Designs were by Joanna Parker (costume co-designer Ilona Karas) with video by Dick Straker, lighting by Peter Mumford. Thankfully, the opera comique version of the opera was used, with dialogue by Meredith Oakes.

Don Giovanni in San Francisco

San Francisco Opera revved up its 2011 production of Don Giovanni with a new directorial team and a new conductor. And a blue-chip cast.

Dutch National Opera puts on a spellbinding Marian Vespers

A body lies in half-shadow, surrounded by an expectant gathering. Our Father is intoned in Gregorian chant. The solo voices bloom into a chorus with a joyful flourish of brass.

Into the Wood: A Midsummer Night's Dream at Snape Maltings

‘I know a bank where the wild thyme blows, Where Oxlips and the nodding Violet grows.’ In her new production of Britten’s A Midsummer Night’s Dream, Netia Jones takes us deep into the canopied groves of Oberon’s forest, luring us into the nocturnal embrace of the wood with a heady ‘physick’ of disorientating visual charms.

Rigoletto in San Francisco

Every once in a while a warhorse redefines itself. This happened last night in San Francisco when Rigoletto propelled itself into the ranks of the great masterpieces of opera as theater — the likes of Falstaff and Tristan and Rossini’s Otello.

My Fair Lady at Lyric Opera of Chicago

In its spring musical production of Alan Jay Lerner and Frederick Loewe’s My Fair Lady Lyric Opera of Chicago has put together an ensemble which does ample justice to the wit and lyrical beauty of the well-known score.

Henze: Elegie für junge Liebende

Hans Werner Henze’s compositions include ten fine symphonies, various large choral and religious works, fourteen ballets (among them one, Undine, that ranks the greatest of modern times), numerous prominent film scores, and hundreds of additional works for orchestra, chamber ensemble, solo instruments or voice. Yet he considered himself, above all, a composer of opera.

Werther at Manitoba Opera

If opera ultimately is about bel canto, then one need not look any further than Manitoba Opera’s company premiere of Massenet’s Werther, its lushly scored portrait of an artist as a young man that also showcased a particularly strong cast of principal artists. Notably, all were also marking their own role debuts, as well as this production being the first Massenet opera staged by organization in its 44-year history.

Seattle: A seamlessly symphonic L’enfant

Seattle Symphony’s “semi-staged” presentation of L’enfant et les sortilèges was my third encounter with Ravel’s 1925 one-act “opera.” It was incomparably the most theatrical, though the least elaborate by far.

Der Rosenkavalier: Welsh National Opera in Cardiff

Olivia Fuchs' new production of Richard Strauss's Der Rosenkavalier is a co-production between Welsh National Opera and Theater Magdeburg. The production debuted in Magdeburg last year and now Welsh National Opera is presenting the production as part of its Summer season, the company's first Der Rosenkavalier since 1990 (when the cast included Rita Cullis as the Marschallin and Amanda Roocroft making her role debut as Sophie).

Don Giovanni takes to the waves at Investec Opera Holland Park

There’s no reason why Oliver Platt’s imaginative ‘concept’ for this new production of Don Giovanni at Investec Opera Holland Park shouldn’t work very well. Designer Neil Irish has reconstructed a deck of RMS Queen Mary - the Cunard-White Star Line’s flag-ship cruiser during the 1930s, that golden age of trans-Atlantic cruising. Spanning the entire width of the OHP stage, the deck is lined with port-holed cabin doors - perfect hideaways for one of the Don’s hasty romantic dalliances.

"Recreated" Figaro at Garsington delights

After the preceding evening’s presentation of Annilese Miskimmon’s sparkling production of Handel’s Semele - an account of marital infidelity in immortal realms - the second opera of Garsington Opera’s 2017 season brought us down to earth for more mundane disloyalties and deceptions amongst the moneyed aristocracy of the eighteenth-century, as presented by John Cox in his 2005 production of Mozart’s Le nozze di Figaro.

Semele: star-dust and sparkle at Garsington Opera

To open the 2017 season at Garsington Opera, director Annilese Miskimmon and designer Nicky Shaw offer a visually beautifully new production of Handel's Semele in which comic ribaldry and celestial feuding converge and are transfigured into star-dust.

OPERA TODAY ARCHIVES »

Performances

Woman with a Lute by Johannes Vermeer (1632-1675) [Source: The Metropolitan Museum of Art]
16 Feb 2014

John Dowland: In Darkness

Its soothing wooden walls gently bathed in aquamarine light, the very modern Hall at King’s Place made a surprisingly fitting venue for a musical journey to the intimate Elizabethan chamber.

John Dowland: In Darkness

A review by Claire Seymour

Above: Woman with a Lute by Johannes Vermeer (1632-1675) [Source: The Metropolitan Museum of Art]

 

‘Semper Dowland Semper Dolens’ (Always Dowland, always sad); such was the motto of the Elizabethan lutenist, poet, diplomat — and possibly spy — John Dowland. And, certainly there was much darkness and despair as tenor Ian Bostridge, lutenist Elizabeth Kenny and the viol consort Fretwork interwove a selection of the composer’s sorrowful songs with a sequence of instrumental pavans and galliards. The prevailing mood was one of melancholy, but a melancholy of a poetic kind: not a sickness of the mind which consumes and destroys, but rather a meditative profundity inspiring creative outpouring.

‘Modern’ misery might be an oppressive, existential sadness — as Susan Sontag declared, ‘Depression is melancholy, minus its charm’ — but scholars have characterised the Renaissance as a ‘golden age’ of melancholy, when an excess of black bile was both a physical illness to be treated by the idiosyncratic methods of contemporary medics, and a conduit to the imperial majesty of the human mind. As humanists began translating ancient Greek texts, they discovered the Aristotelian notion of melancholic brilliance: the belief that those inclined to melancholy often display a genius which set them apart. Similarly, the Romantics eulogised melancholy as an essential element of the sublime and glorified the sadness that would bring insight and reveal truth.

It is this exaltation of melancholy that one finds in Dowland. The songs have a fairly limited melodic range and this, coupled with the absence of fioriture, directs the listener’s attention the poetry itself. Given this emphasis on the text, one can think of few singers more suited to interpret and convey the nuances of Dowland’s suggestive, often ambiguous lines than Ian Bostridge, a master words-smith. Yet, scale is important. Elizabethans would surely be surprised, if not shocked, by the much larger, more ambient voices of modern singers; in the past the lines would have been gently recounted, the message more important than the melody. There is a danger that undue emphasis and underscoring might distort rather than illuminate.

The simplicity of the songs must speak for itself, the harmonic and imitative details almost imperceptibly adding meaning. Although there were moments where the poet-singer persona was imbued with a more Romantic sensibility than might have been desirable, Bostridge by and large negotiated this danger, using expressive accents and textual emphasis judiciously. Moreover, the unfailingly true intonation communicated the sentiments of the texts with absolute sincerity.

Keen to maximise the unprecedented success of his First Book of Songs, printed in 1597, Dowland arranged them to be performed by whatever domestic forces might be available. The softly unrolling ‘Flow My Tears’ was accompanied by the full ensemble, Bostridge’s low register perhaps a little unfocused, insufficiently distinct against the regularity of the viol timbre. But, the tenor’s alertness to every opportunity for subtle stresses which can underline both meaning and form was immediately apparent, the two verbs — ‘Down vain lights, shine you no more’ — establishing a more insistent voice after the forlorn opening stanza. No occasion for variety was neglected: the lightness and energy of the following stanza, and the more restless movement in the viol lines, evoked agitation, to be replaced by the poignant reticence of the subsequent announcement, ‘since hope is gone’. The final stanza was a microcosm of the virtues of the whole programme: dynamic variety — the forte challenge to the ‘shadows that in darkness dwell’ giving way to pianissimo resignation; exquisite harmonic inflection, with false relations lightly underscored; and poised conclusions, the lute’s cadential ornamentation delicately adorning the bitter-sweet tierce de Picardie.

In ‘Can she excuse my wrongs’, Bostridge’s clear diction highlighted the rhythmic elasticity of the accompaniment, which developed further in the intricate in-between verse commentaries. ‘Come Again’ found the tenor accompanied solely by Kenny’s lute. Bostridge built the rising sequence, ‘To see, to hear, to touch, to kiss, to die’, with urgency, blooming on the final syllable; in contrast, in the subsequent verse the recognition that the lover’s hopes are futile, ‘I die/ In endless pain and endless misery’, was darkened by a richly toned decorative turn on the final word.

Kenny also accompanied ‘Sorrow stay’, but this short song is no simple strophic song with accompaniment, but rather seems to anticipate Romantic lieder, the lute promoted from an accompanying role engaging in idiomatic dialogue with the voice, to an equal partner. The instrumental harmonies and melodic motifs are as significant as the voice in conveying meaning. Such interplay deepened the self-castigating misery of the poet-singer’s opening cry to Sorrow, ‘lend repentant tears/ To a woeful wretched wight’; similarly, the lagging delay of the final falling couplet enhanced the sense of the protagonist’s struggle and defeat: ‘down, down I fall/ And arise I never shall.’ At the repeat, Bostridge held the pinnacle, ‘arise’, for just a moment before sinking again into doleful submission.

‘My thoughts are winged with hopes’ offered some respite from the gloom, the more sanguine sentiments conveyed by a sense of movement through the phrases, and the lively trochaic emphases in the viol accompaniment. With one bass viol and the tenor viol silent, the airier texture complemented the optimism of the text.

But, this lighter mood did not last long, for in Dowland’s masterpiece, ‘In darkness let me dwell’, the tenor’s veiled lower register and seamless phrases, supported by bass viol and lute, took us to the abyss. Bostridge exploited the experimental harmonic colouring of the words, almost sneering the phrase ‘My music hellish jarring sounds’ and employing a nasal bitterness and chromatic slide to convey angry despair: ‘wedded to my woes,/ And bedded to my tomb’. The sudden assertiveness of the appeal for death was startling; in the final reprise of opening phrase, the lute gradually expired, leaving just a scarcely audible voice before that too faded inconclusively into the silence. This was a breath-taking display of insight coupled with musicality and technical skill.

After these dark hues, ‘Time Stands Still’ drew forth a sweeter tone, while the enclosing shapes of the long melodic lines conveyed a quietude and motionlessness which was only briefly disturbed by the lute’s energetic flourish introducing the more purposeful declaration, ‘If bloudlesse envie say, dutie hath no desert’. Tempo and textures were used expressively in ‘If my complaint’. The sprightliness suggested the singer’s pained sense of injustice, while the viols’ inter-verse elaboration might have been a riposte from she, or he, who stands accused — for this song may be as much an appeal to a negligent patron as an indifferent beloved.

In ‘I say my lady weep’ Bostridge used a sotto voce to moving effect. Indeed, tears - ‘Lachrimae’ — were in many ways Dowland’s catchword. He even signed his name ‘Jo. Dowlandi de Lachrimae’. In between the songs, Fretwork presented seven ‘Lachrimæ’ pavans, each defined by a preceding adjective — old tears, old tears renewed, sad tears, lovers’ tears — with characteristic discipline and refinement. The harmonic subtleties of ‘Lachrimæ Gementes’ (groaning tears) cultivated an almost trance-like self-absorption; similarly, the chromatic complexities of the more homophonic ‘Lachrimæ Verae’ (true tears), and the easing of the tempo at the close, were deeply expressive.

There were also galliards and pavans whose titles and dedications give us an indication of the various societies in which Dowland moved; from the Earl of Essex to Digory Piper, a Cornish pirate! Though each dance was consummately delivered, at times I found the musical interest in the middle and lower voices was sacrificed to homogeneity, or overwhelmed by the consistent emphasis given to the upper line of Asako Morikawa’s viola da gamba.

In the instrumental numbers there was a general problem of balance, with Kenny’s lute often absorbed into the uniform viol texture, and clearly audible only at the decorative cadences. However, the busy, more vigorous passages of the ‘The King of Denmark’s Galliard’ did create a more spacious foundation for the lute’s intricate passagework.

Kenny’s performance of ‘Forlorn Hope Fancy’ made one lament that the programme included only one work for solo lute; the drooping chromatic scale with which the piece commences was expertly shaped, initiating contrapuntal lines of textural clarity and variety. Synchronised and broken chords eloquently punctuated the running melodic lines, the latter assuming ever-more complex questing patterns. Kenny’s technical virtuosity was complemented by expressive articulacy; concluding with a rhetorical flourish, this ‘Fancy’ spoke as directly and movingly as any of Dowland’s songs.

While Fretwork performed these pavans and galliards, Bostridge remained seated, centre-stage, like a brooding Hamlet: ‘How weary, stale, flat, and unprofitable / Seem to me all the uses of this world!’ There was, however, some lightening of the mood at the close, the mild, carefree nimbleness of ‘M. Henry Noell his Galiard’ and the brightly soaring high vocal lines of the final song, ‘Shall I strive with words to move’, bringing a freshness to alleviate the melancholy.

As Richard Boothby reminded us in his programme article, a sonnet by one of Dowland’s contemporary poets, Richard Barnfield, praised the composer, ‘whose heavenly touch / Upon the lute doth ravish human sense’. On this occasion, in the words of Dowland himself, ‘Sorrow was there made fair’.

Claire Seymour


Performers:

Ian Bostridge tenor, Elizabeth Kenny lute, Fretwork: Asako Morikawa, Reiko Ichise, William Hunt, Richard Tunnicliffe, Richard Boothby, viols. King’s Place, London, Wednesday, 12th February 2014.

Programme:

Flow my tears; Lachrimæ Antiquæ Novæ; The King of Denmark’s Galliard; Can she excuse my wrongs/The Earle of Essex Galliard; Lachrimæ Gementes; Forlorn Hope Fancy; Come Again, sweet love doth now invite; Sorrow stay!; M. John Langton’s Pavan; My thoughts are winged with hope; Lachrimæ Tristes; In darkness let me dwell; Lachrimæ Coactæ; Time stands still; If my complaints/ Captaine Digory Piper, his Galliard 4.00; Lachrimæ Amantis; If floods of tears; Lachrimæ Veræ; I saw my lady weep; M. Henry Noell his Galliard; Shall I strive with words

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):