Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

David McVicar's Andrea Chénier returns to Covent Garden

Is Umberto’s Giordano’s Andrea Chenier a verismo opera? Certainly, he is often grouped with Mascagni, Cilea, Leoncavallo and Puccini as a representative of this ‘school’. And, the composer described his 1876 opera as a dramma de ambiente storico.

Glyndebourne presents Richard Jones's new staging of La damnation de Faust

Oratorio? Opera? Cantata? A debate about the genre to which Berlioz’s ‘dramatic legend’, La damnation de Faust, should be assigned could never be ‘resolved’.

Jean Sibelius: Kullervo

Why did Jean Sibelius suppress Kullervo (Op. 7, 1892)? There are many theories why he didn’t allow it to be heard after its initial performances, though he referred to it fondly in private. This new recording, from Hyperion with Thomas Dausgaard conducting the BBC Scottish Symphony Orchestra, soloists Helena Juntunen and Benjamin Appl and the Lund Male Chorus, is a good new addition to the ever-growing awareness of Kullervo, on recording and in live performance.

Hampstead Garden Opera presents Partenope-on-sea

“Oh! I do like to be beside the seaside! I do like to be beside the sea!” And, it was off to the Victorian seaside that we went for Hampstead Garden Opera’s production of Handel’s Partenope - not so much for a stroll along the prom, rather for boisterous battles on the beach and skirmishes by the shore.

Henze's Phaedra: Linbury Theatre, ROH

A song of love and death, loss and renewal. Opera was born from the ambition of Renaissance humanists to recreate the oratorical and cathartic power of Greek tragedy, so it is no surprise that Greek myths have captivated composers of opera, past and present, offering as they do an opportunity to engage with the essential human questions in contexts removed from both the sacred and the mundane.

Actress x Stockhausen Sin {x} II - a world premiere

Is it in any sense aspirational to imitate - or even to try to create something original - based on one of Stockhausen’s works? This was a question I tried to grapple with at the world premiere of Actress x Stockhausen Sin {x} II.

The BBC Singers and the Academy of Ancient Music join forces for Handel's Israel in Egypt

The biblical account of the Exodus of the Israelites from Egypt is the defining event of Jewish history. By contrast, Handel’s oratorio Israel in Egypt has struggled to find its ‘identity’, hampered as it is by what might be termed the ‘Part 1 conundrum’, and the oratorio has not - despite its repute and the scholarly respect bestowed upon it - consistently or fully satisfied audiences, historic or modern.

Measha Brueggergosman: The Art of Song – Ravel to John Cage

A rather charming story recently appeared in the USA of a nine-year old boy who, at a concert given by Boston’s Handel and Haydn Society, let out a very audible “wow” at the end of Mozart’s Masonic Funeral Music. I mention this only because music – whether you are neurotypical or not – leads to people, of any age, expressing themselves in concerts relative to the extraordinary power of the music they hear. Measha Brueggergosman’s recital very much had the “wow” factor, and on many distinct levels.

World premiere of Cecilia McDowall's Da Vinci Requiem

The quincentennial of the death Leonardo da Vinci is one of the major events this year – though it doesn’t noticeably seem to be acknowledged in new music being written for this.

Mahler: Titan, Eine Tondichtung in Symphonieform – François-Xavier Roth, Les Siècles

Not the familiar version of Mahler's Symphony no 1, but the “real” Mahler Titan at last, as it might have sounded in Mahler's time! François-Xavier Roth and Les Siècles present the symphony in its second version, based on the Hamburg/Weimar performances of 1893-94. This score is edited by Reinhold Kubik and Stephen E.Hefling for Universal Edition AG. Wien.

Aribert Reimann’s opera Lear at Maggio Musicale Fiorentino

In 1982, while studying in Germany, I had the good fortune to see Aribert Reimann’s opera Lear sung in München by the original cast, which included Dietrich Fischer-Dieskau, Júlia Várady and Helga Dernesch. A few years later, I heard it again in San Francisco, with Thomas Stewart in the title role. Despite the luxury casting, the harshly atonal music—filled with quarter-tones, long note rows, and thick chords—utterly baffled my twenty-something self.

Berlioz’s Requiem at the Concertgebouw – earthshakingly stupendous

It was high time the Royal Concertgebouw Orchestra programmed Hector Berlioz’s Grande Messe des morts. They hadn’t performed it since 1989, and what better year to take it up again than in 2019, the 150th anniversary of Berlioz’s death?

Matthew Rose and Friends at Temple Church

I was very much looking forward to this concert at Temple Church, curated by bass Matthew Rose and designed to celebrate music for voice commissioned by the Michael Cuddigan Trust, not least because it offered the opportunity to listen again to compositions heard recently - some for the first time - in different settings, and to experience works discussed coming to fruition in performance.

Handel's Athalia: London Handel Festival

There seems little to connect the aesthetics of French neoclassical theatre of the late-seventeenth century and English oratorio of the early-eighteenth. But, in the early 1730s Handel produced several compositions based on Racine’s plays, chief among them his Israelite-oratorios, Esther (1732) and Athalia (1733).

Verdi: Messa da Requiem - Staatskapelle Dresden, Christian Thielemann (Profil)

It has often been the case that the destruction wrought by wars, especially the Second World War, has been treated unevenly by composers. Theodor Adorno’s often quoted remark, from his essay Prisms, that “to write poetry after Auschwitz would be barbaric” - if widely misinterpreted - is limited by its scope and in a somewhat profound way composers have looked on the events of World War II in the same way.

Ravel’s L’heure espagnole: London Symphony Orchestra conducted by François-Xavier Roth

Although this concert was devoted to a single composer, Ravel, I was initially a little surprised by how it had been programmed. Thematically, all the works had the essence of Spain running through them - but chronologically they didn’t logically follow on from each other.

Breaking the Habit: Stile Antico at Kings Place

Renaissance patronage was a phenomenon at once cultural, social, political and economic. Wealthy women played an important part in court culture and in religious and secular life. In particular, music, musical performances and publications offered a female ruler or aristocrat an important means of ‘self-fashioning’. Moreover, such women could exercise significant influence on the shaping of vernacular taste.

The Secrets of Heaven: The Orlando Consort at Wigmore Hall

Leonel Power, Bittering, Roy Henry [‘Henry Roi’?], John Pyamour, John Plummer, John Trouluffe, Walter Lambe: such names are not likely to be well-known to audiences but alongside the more familiar John Dunstaple, they were members of the generation of Englishmen during the Middle Ages whose compositions were greatly admired by their fellow musicians on the continent.

Manitoba Opera: The Barber of Seville

Manitoba Opera capped its season on a high note with its latest production of Rossini’s The Barber of Seville, sung in the key of goofiness that has inspired even a certain “pesky wabbit,” a.k.a. Bugs Bunny’s The Rabbit of Seville.

Handel and the Rival Queens

From Leonardo vs. Michelangelo to Picasso vs. Matisse; from Mozart vs. Salieri to Reich v. Glass: whether it’s Maria Callas vs. Renata Tebaldi or Herbert von Karajan vs. Wilhelm Furtwängler, the history of culture is also a history of rivalries nurtured and reputations derided - more often by coteries and aficionados than by the artists themselves.

OPERA TODAY ARCHIVES »

Reviews

Greer Grimsley as John Claggart and Liam Bonner as Billy Budd. [Photo by Robert Millard]
02 Mar 2014

LA Opera Presents a Parable of Good and Evil

Billy Budd, portrayed by handsome lyric tenor Liam Bonner, is a charismatic embodiment of innocence.

Los Angeles Opera Presents a Parable of Good and Evil

A review by Maria Nockin

Above: Greer Grimsley as John Claggart and Liam Bonner as Billy Budd

Photos by Robert Millard

 

His nemesis, Master-at-Arms John Claggart, played by the equally charismatic Greer Grimsley, hates him because of it. The director could have introduced a homoerotic element of hatred born of rejection, but she chose not to. Instead, the evil Claggart is a first cousin to Verdi and Shakespeare’s Iago.

Herman Melville’s works have become the basis for two modern operas, Benjamin Britten’s 1951 Billy Budd and Jake Heggie’s 2010 Moby Dick. When Melville died in 1891, he left the novella Billy Budd unfinished, so it was not published until 1924. His first biographer, Raymond Weaver, unearthed its manuscript when he read through Melville's papers. In 1951, a play made from the novella by Louis Coxe and Robert Chapman was a major success on Broadway. That same year saw the premiere of Benjamin Britten’s opera, which has a libretto by English novelist E. M. Forster who worked with frequent Britten collaborator, Eric Crozier.

BBdd4001p.pngRichard Croft as Captain Vere

The title role was intended for Geraint Evans, but he found its tessitura too high. At the opera’s monumentally successful premiere at Covent Garden on December 1, 1951, Theodore Uppman sang Budd and Evans sang Mr. Flint. The performance received seventeen curtain calls and rave reviews.

The current Los Angeles Opera production by Francesca Zambello was first seen at London’s Covent Garden on May 30, 1995. Los Angeles Opera originally mounted her austere, relatively traditional production in 2000 and brought it back on February 22, 2014, under the direction of Julia Pevzner. Alison Chitty’s set is a steeply raked, angular deck that can be raised to reveal a crew area below. Above the deck is a slanted mast with an arm that becomes reminiscent of a cross when Billy stretches his arms out on it.

Billy, portrayed by handsome lyric tenor Liam Bonner, is a charismatic embodiment of innocence. His nemesis, Master-at-Arms John Claggart, played by the equally charismatic Greer Grimsley, hates him because of it. The director could have introduced a homoerotic element of hatred born of rejection, but she chose not to. Instead, the evil Claggart is a first cousin to Verdi and Shakespeare’s Iago.

Caught in the middle of this drama is the ship’s captain, Vere, beautifully sung and movingly interpreted by Richard Croft. He is seen as an old man in both the prologue and the epilogue. He is still uneasy looking back on his role in Billy’s conviction and execution at sea for assaulting a superior officer. That is Britten’s way of expressing his discontent with the harsh laws of wartime. This production pulled the drama taut and propelled the action forward. Many singers created notable character portrayals in this performance. Greg Fedderly was a raucous Red Whiskers, James Creswell a wise Dansker, and Anthony Michaels-Moore an obsequious Redburn. Members of the Los Angeles Opera chorus sang with precise harmony while making the audience realize how many hundreds of men it took to man sailing ships.

Although the opera does not send the audience out humming its tunes, it is consummate music drama and the orchestra makes the audience feel Billy’s pain when he is betrayed. Britten’s sophisticated musical structure sets the listener up for the coup de grace, Billy’s inability to speak at the crucial moment and his resulting assault on Claggart. The composer has created an evocative phrase for each thing that happens in the opera and conductor James Conlon brought them all out with the brilliant colors and the stark clarity of the score. Conlon was the prime mover for bringing more Britten to Los Angeles and with this performance he demonstrated the powerful emotional appeal of that composer’s work.

Maria Nockin


Cast and production information:

Billy Budd, Liam Bonner; Captain Edward Vere, Richard Croft; John Claggart, Greer Grimsley; Mr. Redburn, Anthony Michaels-Moore; Mr. Flint, Daniel Sumegi; Lieutenant Ratcliffe, Patrick Blackwell; Red Whiskers, James Creswell; Bosun, Craig Colclough; Novice, Keith Jameson; First Mate, Paul LaRosa; Second Mate, Daniel Armstrong; Novice's Friend, Valentin Anikin; Maintop, Vladimir Dmitruk; Squeak, Matthew O'Neill; Cabin Boy, Rory Hemmings; Conductor, James Conlon; Production, Francesca Zambello; Director, Julia Pevzner; Set and Costume Design, Alison Chitty; Lighting, Alan Burrett; Chorus Master, Grant Gershon; Fight Director, Ed Douglas.

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):