Recently in Performances
A fixation on death at San Francisco Opera. A 337 year-old woman gave it all up just now after only six years since she last gave it all up on the War Memorial stage.
Penny Woolcock's 2010 production of Bizet's The Pearl Fishers returned to English National Opera (ENO) for its second revival on 19 October 2018. Designed by Dick Bird (sets) and Kevin Pollard (costumes) the production remains as spectacular as ever, and ENO fielded a promising young cast with Claudia Boyle as Leila, Robert McPherson as Nadir and Jacques Imbrailo as Zurga, plus James Creswell as Nourabad, conducted by Roland Böer.
At the end of Shakespeare’s A Midsummer Night’s Dream, Theseus delivers a speech which returns to the play’s central themes: illusion, art and the creative imagination. The sceptical king dismisses ‘The poet’s vision - his ‘eye, in a fine frenzy rolling’ - which ‘gives to airy nothing/ A local habitation and a name’; such art, and theatre, is a psychological deception brought about by an excessive, uncontrolled imagination.
Following the success of previous ‘mini-festivals’ at St John’s Smith Square devoted to Schubert and Schumann, last weekend pianist Anna Tilbrook curated a three-day exploration of the work of Ralph Vaughan Williams and his contemporaries. The music performed in these six concerts was chosen to reflect the changing contexts in which it was composed and to reveal the vast changes in society, politics and culture which occurred during Vaughan Williams’ long life-time (1872-1958) and which shaped his life and creative output.
Trying to work around Manon Lescaut’s episodic structure,
this new production presents the plot as the dying protagonist’s feverish
hallucinations. The result is a frosty retelling of what is arguably
Puccini’s most hot-blooded opera. Musically, the performance also left
much to be desired.
It is Herodotus who tells us that when Xerxes was marching through Asia to invade Greece, he passed through the town of Kallatebos and saw by the roadside a magnificent plane-tree which, struck by its great beauty, he adorned with golden ornaments, and ordered that a man should remain beside the tree as its eternal guardian.
Poor Puccini. He is far too often treated as a ‘box-office hit’ by our ‘major’ opera houses, at least in Anglophone countries. For so consummate a musical dramatist, that is something beyond a pity. Here in London, one is far better advised to go to Holland Park for interesting, intelligent productions, although ENO’s offerings have often had something to be said for them.
With only four singers and a short-story-like plot Don Pasquale is an ideal chamber opera. That chamber just now was the 3200 seat War Memorial Opera House where this not always charming opera buffa is an infrequent visitor (post WWII twice in the 1980’s after twice in the 40’s).
“Yang sementara tak akan menahan bintang hilang di bimasakti; Yang
bergetar akan terhapus.” (“The transient cannot hold on to stars
lost in the Milky Way; that which quivers will be erased.”) As soprano
Tony Arnold sang these words of Tony Prabowo’s chamber opera
Pastoral, with astonishingly crisp Indonesian diction, the first night
of the second annual Momenta Festival approached its end.
Some operas seemed designed and destined to raise questions and debates - sometimes unanswerable and irresolvable, and often contentious. Termed a dramma giocoso, Mozart’s Don Giovanni has, historically, trodden a movable line between seria and buffa.
Péter Eötvös’ The Sirens Cycle received its world premiere at the Wigmore Hall, London, on Saturday night with Piia Komsi and the Calder Quartet. An exceptionally interesting new work, which even on first hearing intrigues: imagine studying the score! For The Sirens Cycle is elegantly structured, so intricate and so complex that it will no doubt reveal even greater riches the more familiar it becomes. It works so well because it combines the breadth of vision of an opera, yet is as concise as a chamber miniature. It's exquisite, and could take its place as one of Eötvös's finest works.
Manitoba Underground Opera took audiences on a journey — literally and
figuratively — as it presented its latest installment of repertory opera
between August 19–26.
On a recent weekend Lyric Opera of Chicago gave its annual concert at Millennium Park during which the coming season and its performers are variously showcased. Several of the performers, who were featured at this “Stars of Lyric Opera” event, are scheduled to make their debuts in Lyric Opera’s new production of Wagner’s Das Rheingold beginning on 1 October.
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.
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.
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.
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.
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.
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.
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).
27 Mar 2014
Harrison Birtwistle, Elliott Carter, Wigmore Hall, London
Celebrating the 80th birthday of one of the UK's greatest composers (if not the greatest), this concert was an intriguing, and not always stimulating, mix. Birtwistle with Carter makes sense, but Birtwistle with Adams does not - or at least only within the remit of the concert series. The concert was actually entitled “Nash Inventions: American and British Masterworks, including an 80th Birthday Tribute to Sir Harrison Birtwistle” and was the final concert in the “Inventions” series.
So it was that Birtwistle bookended the evening. The first piece was his Fantasia upon all the notes (2012), commissioned by the present ensemble and premiered at the Wigmore Hall in March 2012. Scored for flute, clarinet, harp (the sound of the harp, although not omnipresent, was a Theseus-thread through the evening) and string quartet, the score breathed out a lyric expansiveness, its long lines fully honoured here and leading to a frenetic climax before the piece effectively disintegrated. The basis for the composition (“all the notes”) is the shifting scales of the harp, dependent on the pedals used. In this way, the harp, by no means soloistic, subtly guides the harmonic language of the piece. It was a fine example of the composer's subtle practices, and was beautifully and sensitively delivered here by members of the Nash Ensemble.
Carter and Birtwistle are of course linked by age as well as the complexities of their music (although the manifestations of those complexities are, of course, very different). There were two Carter pieces in the first half: Enchanted Preludes of 1988 and Esprit Rude/Esprit Doux of some 22 years previous. The first, Enchanted Preludes, is scored for flute and cello, here played by Philippa Davies and Adrian Brendel, respectively. It was a virtuoso performance of a sophisticated piece. Both players demonstrated superb control of their instruments in a piece that demonstrates, concisely, Carter's strengths of a consistent harmonic language and a superb ear for detail. If Esprit Rude/Esprit Doux for flute and clarinet (Davies again, this time with Richard Hosford on clarinet) was not quite as fine a piece, not as sure of itself, it nevertheless evinced a great sense of dialogue.
The Adams was the odd man out. Somehow Shaker Loops, in its chamber version for seven strings, felt rather roughly 'inserted' in deference to the American side of the concert series. It was a fabulous performance: perfectly graduated crescendi and a real sense of determination. But the piece felt over-long and frankly bloated, and was firmly compositionally outgunned by its companion pieces.
Elliott Carter's Mosaic of 2004 (for flute, oboe, clarinet, harp, string trio and double-bass) began the second half. The harp part is virtuosic but in the pre-concert talk Birtwistle had contrasted Carter's treatment of the instrument to his own: Carter does not let the instrument resonate (and therefore, by implication, be true to its own nature). The complex pedal work is impressive indeed as a performance act and one does have to wonder if this aspect is part of the piece's basis, just as the viola is asked to be contra-itself and be very forceful; very un-viola-like perhaps. It is an interesting piece, certainly, but it was overshadowed to no small extent by the piece that most people had surely come to hear, Birtwistle's recent The Moth Requiem (2012).
The BBC Singers were on absolute top form for the demands of this work, which sets a number of Latin names of butterflies interspersed into the poem “A Literalist” by Robin Blaser from his larger work The Moth Poem. The poem concerns a moth trapped in the body of a piano and which could be heard in contact with the strings. It is a lovely idea, and masterfully realised. The scoring is for 12 singers, 3 harps and alto flute. In fact Birtwistle uses the three harps as one “meta-instrument”, as he explained in his characteristically dry-witted pre-performance event. Birtwistle's years of experience enabled him to weave an intoxicating sonic tapestry. The fragmenting of texture and musical material in the work's final stages is impeccably timed. This is nothing short of a masterpiece.
Running through the concert was the sure direction of Nicholas Kok, whose clarity as a conductor was a model of its kind. A remarkable evening.