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

Così fan tutte at Covent Garden

Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.

Plácido Domingo as Macbeth, LA Opera

On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.

The Rake’s Progress: an Opera for Our Time

On September 18th, at a casual Sunday matinee, Pacific Opera Project presented a surprising choice for a small company. It was Igor Stravinsky’s 1951 three act opera, The Rake’s Progress. It’s a piece made for today's supertitles with its exquisitely worded libretto by W.H. Auden and Chester Kallman.

Classical Opera: Haydn's La canterina

We are nearing the end of Classical Opera’s MOZART 250 sojourn through 1766, a year that the company’s artistic director Ian Page admits was ‘on face value … a relatively fallow year’. I’m not so sure: Jommelli’s Il Vogoleso, performed at the Cadogan Hall in April, was a gem. But, then, I did find the repertoire that Classical Opera offered at the Wigmore Hall in January, ‘worthy rather than truly engaging’ (review). And, this programme of Haydn and his Czech contemporary Josef Mysliveček was stylishly executed but did not absolutely convince.

Dream of the Red Chamber in San Francisco

Globalization finds its way ever more to San Francisco Opera where Italian composer Marco Tutino’s La Ciociara saw the light of day in 2015 and now, 2016, Chinese composer Bright Sheng’s Dream of the Red Chamber has been created.

San Diego Opera Opens with Recital by Piotr Beczala

Renowned Polish tenor Piotr Beczala and well-known collaborative pianist Martin Katz opened the San Diego Opera 2016–2017 season with a recital at the Balboa Theater on Saturday, September 17th.

Andrea Chénier at San Francisco Opera

San Francisco Opera makes occasional excursions into the operatic big-time, such just now was Giordano’s blockbuster Andrea Chénier, last seen at the War Memorial 23 years ago (1992) and even then after a hiatus of 17 years (1975).

A rousing I due Foscari at the Concertgebouw

There is no reason why, given the right performers, second-tier Verdi can’t be a top-tier operatic experience, as was the case with this concert version of I Due Foscari.

A double dose of Don Quixote at the Wigmore Hall

Since their first appearance in Miguel de Cervantes Saavedra’s literary master-piece, during the Spanish Golden Age, the ingenuous and imaginative knight-errant, Don Quixote, and his loyal subordinate and squire, Sancho Panza, have touched the creative imagination of composers from Salieri to Strauss, Boismortier to Rodrigo.

Bampton Classical Opera: A double bill of divine comedies

Bampton Classical Opera’s 2016 double-bill ‘touched down’ at St John’s Smith Square last night, following performances in The Deanery Garden at Bampton and The Orangery of Westonbirt School earlier this summer.

Mahler’s Second, Concertgebouw

Daniele Gatti opened the first series of Royal Concertgebouw Orchestra’s season with a slightly uneven performance of Mahler’s Resurrection Symphony. With four planned, this staple repertoire for the RCO meant to introduce Gatti to the RCO subscribers.

Mad About San Jose’s Lucia

Opera San Jose opened a commendably impassioned Lucia di Lammermoor that sets the company’s bar very high indeed as it begins its new season.

ROH, Norma

The approach of the 2016-17 opera season has brought rising anticipation and expectation for the ROH’s new production - the first at Covent Garden for almost 30 years - of Bellini’s bel canto master-piece, Norma.

The Changing of the Guard

Last June, Riccardo Chailly led the Leipzig Gewandhaus Orchestra in Bach’s St. Matthew’s Passion for his last concert as Principal Conductor.

Morgen und Abend at Berlin

After its world premiere at Royal Opera House in London last year, the German première of Georg Friedrich Haas’s Morgen und Abend took place at the Deutsche Oper Berlin.

Der Freischütz at Unter den Linden

Rarely have I experienced such fabulous singing in such a dreadful production. With magnificent voices, Andreas Schager and Dorothea Röschmann rescued Michael Thalheimer’s grotesque staging of von Weber’s Der Freischütz. At Staatsoper Unter den Linden, Alexander Soddy led a richly detailed, transparent and brilliantly glowing Berliner Staatskapelle.

Prom 74: Verdi's Requiem

For the penultimate BBC Prom at the Royal Albert Hall on Friday 9 September 2016, Marin Alsop conducted the BBC Youth Choir and Orchestra of the Age of Enlightenment in Verdi's Requiem with soloists Tamara Wilson, Alisa Kolosova, Dimitri Pittas, and Morris Robinson.

British Youth Opera: English Eccentrics

“Eccentricity is not, as dull people would have us believe, a form of madness. It is often a kind of innocent pride, and the man of genius and the aristocrat are frequently regarded as eccentrics because genius and aristocrat are entirely unafraid of and uninfluenced by the opinions and vagaries of the crowd.”

Prom 68: a wonderful Semiramide

When I look back on the 2016 Proms season, this Opera Rara performance of Semiramide - the last opera that Rossini wrote for Italy - will be, alongside Pekka Kuusisto’s thrillingly free and refreshing rendition of Tchaikovsky’s violin concerto - one of the stand-out moments.

Double Bill by Oper am Rhein

Of all the places in Germany, Oper am Rhein at Theater Duisburg staged an intriguing American double bill of rarities. An experience that was well worth the trip to this desolate ghost town, remnant of industrial West Germany.

OPERA TODAY ARCHIVES »

Performances

L-R:  Nicholas Sharratt (Paris), Grant Doyle (Hector), Roderick Earle (Priam), Simon Gfeller (Chorus), Johnny Herford (Chorus), Adrian Dwyer (Hermes), Charne Rochford (Achilles), Andrew Slater (Old Man). [Photo by Richard Hubert Smith courtesy of English Touring Opera]
20 Feb 2014

Tippett’s King Priam

Michael Tippett’s opera King Priam premiered as part of the same arts festival in Coventry for which Britten’s War Requiem was written and in fact the two works have something in common, dealing with the issues of war and its consequences.

Tippett’s King Priam

A review by Robert Hugill

Above: L-R: Nicholas Sharratt (Paris), Grant Doyle (Hector), Roderick Earle (Priam), Simon Gfeller (Chorus), Johnny Herford (Chorus), Adrian Dwyer (Hermes), Charne Rochford (Achilles) and Andrew Slater (Old Man).

Photos © Richard Hubert Smith courtesy of English Touring Opera

 

But Tippett’s powerfully gritty work has failed to find the place in the repertoire that it deserves, so it was welcome news that English Touring Opera were opening their Spring tour with James Conway’s new production of the opera. I attended the opening performance on 13 February 2014 at Covent Garden’s Linbury Studio Theatre. Michael Rosewell conducted a new reduced orchestration by Iain Farrington, James Conway directed with designs by Anna Fleischle. Roderick Earle sang King Priam with Laure Meloy as Hecuba, Grant Doyle as Hector, Camilla Roberts as Andromache, Nicholas Sharratt as Paris, Niamh Kelly as Helen, Charne Rochford as Achilles, Adrian Dwyer as Hermes and a cast including Andrew Slater, Clarissa Meek, Stuart Haycock, Johnny Herford, Henry Manning and Piotr Lempa.

The size of the cast, perhaps, gives a hint as to why the opera is not revived more often. Covent Garden last performed it in 1985 (when the original Sam Wanamaker production was revived and taken to the Herod Atticus Theatre in Athens). Opera North’s 1991 production was given by ENO in 1991, the last time the opera was staged in London, though we had a concert performance at the Proms in 2003.

ETO_KingPriam_8094.gif [Photo © Richard Hubert Smith courtesy of English Touring Opera]Niamh Kelly (Helen)

Anna Fleischle’s set was a single unit concrete bunker-like structure which gave flexibility to the acting area by including a high level walk way at the back. The centre of the stage was taken by a small podium with a large metallic structure which double as a number of things. The playing space was highly effectively organised, but seemed to lack the space which Tippett’s opera demands. Partly this was because of the decision to put the orchestra on-stage behind the singers and hidden by a scrim. This decision was taken partly because of worries about balance problems at the Linbury Theatre (I understand for the remainder of the tour the orchestra will be in the pit), but it did give the overall production a claustrophobic feel. James Conway seems to have deliberately played this up, with the chorus often crowding onto the stage.

The decision to put the orchestra behind the singers was, I think, a fatal one. Far too often the bodies of the singers muffled the orchestra. The brass was rarely thrilling; the fanfares at the opening sounded too distant and the war music for Achilles at the end of Act two simply did not register strongly enough — it certainly wasn’t threatening and the brass was at times overwhelmed by the chorus. There is a lot of fine detail in Tippett’s score, each major character is doubled by a solo instrument and whilst these were played effectively some of the detail was blunted.

ETO_KingPriam_0512.gif [Photo © Richard Hubert Smith courtesy of English Touring Opera]Nicholas Sharratt (Paris), Grant Doyle (Hector) and Roderick Earle (Priam)

Conway and Fleischle seemed to take similar mis-steps with the costumes. I can understand the wish to avoid classical Greek costumes. Fleischle seems to have combined elements of Middle-Eastern dress, notably the rich fabrics with other more tribal elements. Feathers played a big part in the look of the production, with lots used in head-dresses as well as in collars and cloaks. Individual pieces were stunning, and the work which went into the head-dresses for the three goddesses (Hera, Athene and Helen) in the judgement scene were individually brilliant. But the overall effect was fussy and busy, and I particularly disliked the animal skull based crowns for Priam and Hecuba. Conway and Fleischle seemed to have explicitly reacted against the clean lines of Tippett’s score, and produced something deliberately at odds with it. Whereas Conway’s admirable productions of Handel operas are stripped down clean lines, allowing the music to speak, here he and Fleischle seemed to be doing their best to compete.

Within these confines there were some stunning performances from the singers. Whilst Conway’s production does not get the opera quite right, there was enough to enjoy and react positively when there were so many fine individual performances.

Roderick Earle gave a towering performance as Priam. Tippett’s vocal writing in the opera is mainly declamatory and I felt that Earle took time to settle, but Tippett gives the character a series of strong monologues which help to clarify things. The scene when Priam goes to beg Achilles for Hector’s body was particularly powerful. Earle gave a fine account of Priam’s final disintegration and it wasn’t his fault that the staging here seemed to be too fussy and miss the point a bit.

ETO_KingPriam_8063.gif [Photo © Richard Hubert Smith courtesy of English Touring Opera]Left: Laure Meloy (Hecuba). Centre, foreground: Camilla Roberts (Andromache).

Laure Meloy made a strong, passionate Hecuba. The first Hecuba was the fine dramatic soprano Marie Collier and Meloy here brought a vividly passionate warmth to the role. Grant Doyle was brightly enthusiastic Hector, neatly differentiating the young man of the early scenes from the later seasoned veteran. He gave a nicely enthusiastic gung-ho feel to the role, making Hector’s bravado believable. Camilla Roberts was wonderfully tragic and passionate as his wife (the part was created by Josephine Veasey who was a fine Didon in Berlioz’s Trojan opera) In the lovely scene in act two when each of the Trojan women gets a solo moment, Roberts brought forth a stream of lyrical passion and intensity. Tippett’s writing for the three leading Trojan women is interesting as he very much eschews the high upper soprano register, no lyric coloratura here, instead creating three rich warm, believable and highly differentiated women. Something which the casting and the singers brought out admirably.

The young Paris was played by a treble, Thomas Delgado-Little, who projected the not uncomplicated lines with security and accuracy. Nicholas Sharratt brought something of this youthful enthusiasm to his portrayal of Paris as an adult, managing to overcome an unfortunate costume involving a pair of orange loon pants! Sharratt gave the feeling that Paris had never quite grown up, and sang Paris’s music with a vividness and a nice bright sense of line. His Helen was the mysterious Niamh Kelly, who brought out the full complexity of Helen’s unknowable character, making her tantalisingly mysterious.

Charne Rochford, who has given fine performances as Luigi (Il Tabarro) and Adorno (Simon Boccanegra) for ETO, was not ideal as Achilles. He brought passionate intensity and striking vibrancy of voice to Achilles songs in act two, where Tippett give just a guitar accompaniment. But what is needed here is lyric clarity and beauty of line. Robert Tear was a notable exponent of the role and it was originally sung by Richard Lewis, both tenors capable of combining power with lyric intensity and a sense of line. Rochford was on securer ground in Achilles’s more dramatic moments. He and Piotr Lempa made convincing work of Achilles and Patroclus’s short scene together, and Lempa made you regret that the role of Patroclus is so short.

ETO_KingPriam_7891.gif [Photo © Richard Hubert Smith courtesy of English Touring Opera]Upstage: Nicholas Sharratt (Paris) and Niamh Kelly (Helen)

Perhaps one of ETO’s problems was that the casting of King Priam requires three significant tenors, so it is with relief that I can report Adrian Dwyer more than entirely admirable in the high tenor part of Hermes, the divine messenger. His solo paen to the power of music in the middle of act three was a notable moment.

Andrew Slater brought his familiar vibrant dramatic intensity to the role of the Old Man. He, Clarissa Meek as the Nurse, and Adam Tunniclife as the Young Guard, made a very strong chorus as they repeatedly stepped out of their roles and discussed the action. Mediating between the ancient characters and our present day. Here Conway’s handling was pitch perfect and their scenes were some of the strongest in the opera.

The smaller roles were all well taken with Stuart Haycock, Johnny Herford and Henry Manning as Hunters as well as singing in the ensembles.

The orchestra under Michael Rosewell played admirably, and there were some lovely moments. The score is one of Tippett’s most seductive, and it is elegant in its spareness. Iain Farrington’s orchestration seemed to preserve the score’s richness and elegance, would that we could have heard it better.

This is one of those productions which will probably develop as it tours and it would certainly be worth dropping in to the Cambridge Arts Theatre in May to catch the final performances. Certainly playing the production in more open, less confined theatres than the bunker-like Linbury Theatre will be an improvement. But ETO are to be congratulated for even attempting such a feat and I urge everyone to take the opportunity to see Tippett’s operatic masterpiece.

Robert Hugill


Cast and production information:

King Priam: Roderick Earle, Hecuba: Laure Meloy, Hector:Grant Doyle, Andromache: Camilla Roberts, Paris:Nicholas Sharratt, Helen: Niamh Kelly, Achilles: Charne Rochford, Hermes: Adrian Dwyer, Old Man: Andrew Slater, Nurse: Clarissa Meek, Young Soldier: Stuart Haycock, Hunter: Johnny Herford, Hunter: Henry Manning, Hunter: Piotr Lempa.

Click here for another perspective from Mark Berry.

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):