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 Reviews

Baroque at the Edge: London Festival of Baroque Music, 12-20 May 2017

On 9 January 2017 the London Festival of Baroque Music (formerly the Lufthansa Festival of Baroque Music) announced its programme for 2017. The Festival theme for 2017 is Baroque at the Edge. Inspired by the anniversaries of Monteverdi (450th of birth) and Telemann (250th of death) the Festival explores the ways that composers and performers have pushed at the chronological, stylistic, geographical and expressive boundaries of the Baroque era.

OPERA RARA AUCTION: online auction for opera lovers worldwide

On Thursday 19th January, opera lovers around the world started bidding online for rare and prized items made available for the first time from Opera Rara’s collection. In addition to the 26 lots auctioned online, 6 more items will be made available on 7 February - when online bidding closes - at Opera Rara’s gala dinner marking the final night of the auction. The gala will be held at London’s Caledonian Club and will feature guest appearances from Michael Spyres and Joyce El-Khoury.

MOZART 250: the year 1767

Classical Opera’s MOZART 250 project has reached the year 1767. Two years ago, the company embarked upon an epic, 27-year exploration of the music written by Mozart and his contemporaries exactly 250 years previously. The series will incorporate 250th anniversary performances of all Mozart’s important compositions and artistic director Ian Page tells us that as 1767 ‘was the year in which Mozart started to write more substantial works - opera, oratorio, concertos … this will be the first year of MOZART 250 in which Mozart’s own music dominates the programme’.

Monteverdi, Masters and Poets - Imitation and Emulation

‘[T]hey moderated or increased their voices, loud or soft, heavy or light according to the demands of the piece they were singing; now slowing, breaking of sometimes with a gentle sigh, now singing long passages legato or detached, now groups, now leaps, now with long trills, now with short, or again, with sweet running passages sung softly, to which one sometimes heard an echo answer unexpectedly. They accompanied the music and the sentiment with appropriate facial expressions, glances and gestures, with no awkward movements of the mouth or hands or body which might not express the feelings of the song. They made the words clear in such a way that one could hear even the last syllable of every word, which was never interrupted or suppressed by passages or other embellishments.’

Visionary Wagner - The Flying Dutchman, Finnish National Opera

An exceptional Wagner Der fliegende Holländer, so challenging that, at first, it seems shocking. But Kasper Holten's new production, currently at the Finnish National Opera, is also exceptionally intelligent.

Don Quichotte at Chicago Lyric

A welcome addition to Lyric Opera of Chicago’s roster was its recent production of Jules Massenet’s Don Quichotte.

Written on Skin: Royal Opera House

800 years ago, every book was a precious treasure - ‘written on skin’. In George Benjamin’s and Martin Crimp’s 2012 opera, Written on Skin, modern-day archivists search for one such artefact: a legendary 12th-century illustrated vanity project, commissioned by an unnamed Protector to record and celebrate his power.

Madama Butterfly at Staatsoper im Schiller Theater

It was like a “Date Night” at Staatsoper unter den Linden with its return of Eike Gramss’ 2012 production of Puccini’s Madama Butterfly. While I entered the Schiller Theater, the many young couples venturing to the opera together, and emerging afterwards all lovey-dovey and moved by Puccini’s melodramatic romance, encouraged me to think more positively about the future of opera.

It’s the end of the world as we know it: Hannigan & Rattle sing of Death

For the Late Night concert after the Saturday series, fifteen Berliners backed up Barbara Hannigan in yet another adventurous collaboration on a modern rarity with Simon Rattle. I was completely unfamiliar with the French composer, but the performance tonight made me fall in love with Gérard Grisey’s sensually disintegrating soundscape Quatre chants pour franchir le seuil, or “Fours Songs to cross the Threshold”.

A Vocally Extravagant Saturday Night with Berliner Philharmoniker

One of the things I love about the Philharmonie in Berlin, is the normalcy of musical excellence week after week. Very few venues can pull off with such illuminating star wattage. Michael Schade, Anne Schwanewilms, and Barbara Hannigan performed in two concerts with two larger-than-life conductors Thielemann and Rattle. We were taken on three thrilling adventures.

Les Troyens at Lyric Opera of Chicago

Lyric Opera of Chicago’s original and superbly cast production of Hector Berlioz’s Les Troyens has provided the musical public with a treasured opportunity to appreciate one of the great operatic achievements of the nineteenth century.

Merry Christmas, Stephen Leacock

The Little Opera Company opened its 21st season by championing its own, as it presented the world premiere of Winnipeg composer Neil Weisensel’s Merry Christmas, Stephen Leacock.

Bampton Classical Opera 2017

In 2015, Bampton Classical Opera’s production of Salieri’s La grotta di Trofonio - a UK premiere - received well-deserved accolades: ‘a revelation ... the music is magnificent’ (Seen and Heard International), ‘giddily exciting, propelled by wit, charm and bags of joy’ (The Spectator), ‘lively, inventive ... a joy from start to finish’ (The Oxford Times), ‘They have done Salieri proud’ (The Arts Desk) and ‘an enthusiastic performance of riotously spirited music’ (Opera Britannia) were just some of the superlative compliments festooned by the critical press.

The nature of narropera?

How many singers does it take to make an opera? There are single-role operas - Schönberg’s Erwartung (1924) and Eight Songs for a Mad King by Peter Maxwell Davies (1969) spring immediately to mind - and there are operas that just require a pair of performers, such as Rimsky-Korsakov’s Mozart i Salieri (1897) or The Telephone by Menotti (1947).

A Christmas Festival: La Nuova Musica at St John's Smith Square

Now in its 31st year, the 2016 Christmas Festival at St John’s Smith Square has offered sixteen concerts performed by diverse ensembles, among them: the choirs of King’s College, London and Merton College, Oxford; Christchurch Cathedral Choir, Oxford; The Gesualdo Six; The Cardinall’s Musick; The Tallis Scholars; the choirs of Trinity College and Clare College, Cambridge; Tenebrae; Polyphony and the Orchestra of the Age of the Enlightment.

Fleming's Farewell to London: Der Rosenkavalier at the ROH

As 2016 draws to a close, we stand on the cusp of a post-Europe, pre-Trump world. Perhaps we will look back on current times with the nostalgic romanticism of Richard Strauss’s 1911 paean to past glories, comforts and certainties: Der Rosenkavalier.

Loft Opera’s Macbeth: Go for the Singing, Not the Experience

Ah, Loft Opera. It’s part of the experience to wander down many dark streets, confused and lost, in a part of Brooklyn you’ve never been. It is that exclusive—you can’t even find the performance!

A clipped Walküre in Amsterdam

Let’s start by getting a couple of gripes out of the way. First, the final act of Die Walküre does not constitute a full-length concert, even with a distinguished cast and orchestra, and with animated drawings fluttering on a giant screen.

A Leonard Bernstein Delight

When you combine two charismatic New York stage divas with the artistry of Los Angeles Opera, you have a mix that explodes into singing, dancing and an evening of superb entertainment.

An English Winter Journey

Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.

OPERA TODAY ARCHIVES »

Reviews

Above: Rémy Mathieu as Martin, Toby Girling as Top [Photo copyright Michel Cavalca]
07 Feb 2014

The Tender Land in Lyon

It is not often that a Aaron Copland's The Tender Land comes along with resources like those of the Opéra de Lyon, one of Europe's finest. So carpe diem!

The Tender Land in Lyon

A review by Michael Milenski

Above: Rémy Mathieu as Martin, Toby Girling as Top [Photo copyright Michel Cavalca]

 

The Tender Land was not a success at its New York premiere back in 1956, and it is not a success these fifty-eight years later in Lyon. But not for lack of trying, then or now.

For this production the Opéra de Lyon joined forces with the Théâtre de la Croix Rousse (the Croix Rousse is a neighborhood above the city center, home to the centuries-old Lyon silk industry where there was once an ochre cross) where it was performed. The artistic director of the Croix-Rousse theater, Jean Lacornerie staged this production.

TenderLand1.png Laure Barras as Laurie Moss. Photo copyright Michel Cavalca

The Tender Land was composed as an opera for television at a time when mass communication believed it had an obligation make high, or higher art, like opera, theater and symphony, accessible to the masses (at that time the masses meant anyone who did not live in New York City). So NBC Television created an opera company for opera on television!

Mid-twentieth-century America like much of the European world was struggling to integrate a broader public work-force into a cohesive social fabric. This meant that American composers with aspiration to political correctness — and it was dangerous if you did not — aspired to create music that would speak directly to these masses. [Ironically at the same time the U.S. was providing the funding for the hermetic music coming out of Darmstadt.]

Much fine and beautiful music came out of New York by composers like Aaron Copland who submitted The Tender Land, his one and only opera to NBC Television Opera. Sensibly enough it was rejected by the television producers probably because it does not have a strong enough story to support one hour forty minutes of story telling, its characters are monochromatic and its message of hope is compromised by their innate simplicity, read mediocrity. Simply its Depression era setting was not in keeping with the frenetic enthusiasms of the mid-fifties (recall the 1955 design shift in cars) and its musical numbers were not based on exotic cultures, like for example the New York gangs of West Side Story or the Italian immigrants of The Saint of Bleecker Street.

These fifty-eight years later it is a regretful look at American fundamentalism.

But within The Tender Land there are jewels of pure music, and these sang out splendidly on the Croix Rousse, the superb quintet that closes the first act bringing the separate impulses of the five principals into an integrated musical context, and the gorgeous, extended love duet of Laurie and Martin that interwove its musical elements into a colorful fantasy of love. These moments are purely musical, not dramatic, and were indeed pleasurable.

TenderLand3.png The chorus in blackface [!]. Photo copyright Michel Cavalca

The choreographed numbers were appropriately lively with the youth and agility of Copland’s hopes for the future — Laurie, Martin and Top — able to manifest their impotent energies. In fact this recall of the energy of Copland’s 1944 Appalachian Spring provided the validation for the reduction (by Murray Sidlin) of the fully symphonic score of The Tender Land to a mere flute, clarinet and bassoon plus double strings and piano, Copland’s original orchestration for Appalachian Spring.

The intrinsic weakness of the opera precludes enlisting its original, full orchestral forces for a production. Sadly audiences will likely never hear the complete the sonic world envisioned by Copland when the opera is staged. Thirteen excellent players from the orchestra of the Opéra de Lyon gave it their all, with the Opéra de Lyon’s assistant music director Philippe Forget (that’s for-jay) as their able leader. It was fine playing, and at times even these few instruments created the true American colors that Copland’s harmonics uniquely evoke. We ached for more of those colors.

Mostly however the minimal orchestral forces disappeared into the very fine, complex and sizable production created by Mr. Lacornerie, his scenographer Bruno de Lavenére and his costumer Robin Chemin. Mr. Laconerie wisely played on the television genesis of Copland’s opera, reducing the visual field to a doll-house-sized farmhouse with puppet characters identically dressed as their operators, the actual characters. At times this puppet action or the faces of the operators was projected onto a half stage scrim creating the close up images that are the primary tools of television. At other times these props disappeared and actual farm buildings appeared for real stage production. And finally the whole stage was closed for Ma Moss to give her closing monologue as a concert piece in front of the curtain.

The Opéra de Lyon provided a solid cast. Veteran bass-baritone Stephen West was a stern, stolid and soul damaged Grandpa Moss, veteran mezzo-soprano Lucy Schaufer was a fine voiced, not rough enough Ma Moss who did not provide enough character or voice to conclude the opera (Mme. Schaufer is a fine artist, here victim of perhaps the direction, and certainly of the reduced orchestral forces). Three members of the Opéra de Lyon studio created excellent characters, Rémy Mathieu as Martin had real music theater sparkle, Toby Girling as Top exhibited extraordinary strength and agility as a singer and dancer, and Laure Barras brought much depth to the role of Laurie Moss. The neighbors were cast with excellent singers from the Opéra de Lyon chorus.

Michael Milenski


Casts and production information:

Ma Moss: Lucy Schaufer; Beth Moss: Odile Bertotto; Gramdpa Moss: Stephen Owen;
Laurie Moss: Laure Barras; Martin: Rémy Mathieu; Top: Toby Girling; Mr. Splinters: Brian Bruce; Mrs. Splinters: Alexandra Guérinot; Mr. Jenks: Paolo Stupenengo; Mrs. Jenks: Sharona Applebaum. Members of the Orchestre de l'Opéra de Lyon. Solistes du Studio et Chœurs de l'Opéra de Lyon. Conductor: Philippe Forget; Mise en scène: Jean Lacornerie; Scenery: Bruno de Lavenère; Costumes: Robin Chemin; Lumières: Bruno Marsol; Chorégraphie: Thomas Stache; Vidéo: Séb Coupy; Marionnettes: Emilie Valantin. Théâtre de la Croix-Rousse, Lyon, February 1, 2014

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):