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

Cold Mountain, Philadelphia

Opera Philadelphia deserves congratulations on yet another coup. The company co-commissioned Cold Mountain, an opera by Jennifer Higdon based on Gene Scheer’s adaptation of Charles Frazier’s celebrated Civil War epic.

Christian Gerhaher Wolfgang Rihm Wigmore Hall

For their first of two recitals at the Wigmore Hall, Christian Gerhaher and Gerold Huber devised an interesting programme - popular Schubert mixed with songs by Wolfgang Rihm and by Huber himself.

Götterdämmerung in Palermo

There are not many opera productions that you would cross oceans to see. Graham Vick’s Götterdämmerung in Sicily however compelled such a voyage.

Emmanuel Chabrier L’Étoile — Royal Opera House London

Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.

Robert Ashley’s Quicksand at the Kitchen

Robert Ashley’s opera-novel Quicksand makes for a novel experience

Premiere of Raskatov’s Green Mass

One of the leading Russian composers of his generation, Alexander Raskatov’s reputation in the UK and western Europe derives from several, recent large-scale compositions, such as his reconstruction of Alfred Schnittke’s Ninth Symphony from a barely legible manuscript (the work was first performed in 2007 in the Dresden Frauenkirche by the Dresden Philharmonic under Dennis Russell Davies), and his 2010 opera A Dog’s Heart, based on Mikhail Bulgakov’s satire (which was directed by Simon McBurney at English National Opera in 2010, following the opera’s premiere at Netherlands Opera earlier that year).

Orpheus in the Underworld, Opera Danube

I’m not sure that St John’s Smith Square was the most appropriate venue for Opera Danube’s latest production: Jacques Offenbach’s satirical frolic, Orpheus in the Underworld.

Lady Macbeth of Mtsensk in Lyon

This nasty little opera evening in Lyon lived up to the opera’s initial reputation as pure pornophony. This is the erotic Shostakovich of the D minor cello sonata, it is the sarcastic and complicated Shostakovich of The Nose . . .

Bel Canto: A World Premiere at Lyric Opera of Chicago

During December 2015 and presently in January Lyric Opera of Chicago has featured the world premiere of the opera Bel Canto, with music by Jimmy López and libretto by Nilo Cruz, based on the novel by Ann Patchett.

Tosca, Royal Opera

Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.

Lianna Haroutounian resplendent in Madama Butterfly at the Concertgebouw

The title role is a deciding factor in Madama Butterfly. Despite a last-minute conductor cancellation, last Saturday’s concert performance at the Concertgebouw was a resounding success, thanks to Lianna Haroutounian’s opulent, heart-stealing Cio-Cio-San.

Classical Opera: MOZART 250 — 1766: A Retrospective

With this performance of vocal and instrumental works composed by the 10-year-old Mozart and his contemporaries during 1766, Classical Opera entered the second year of their 27-year project, MOZART 250, which is designed to ‘contextualise the development and influences of [sic] the composer’s artistic personality’ and, more audaciously, to ‘follow the path that subsequently led to some of the greatest cornerstones of our civilisation’.

Benjamin Appl — Schubert, Wigmore Hall London

Luca Pisaroni and Wolfram Rieger were due to give the latest installment in the Wigmore Hall's complete Schubert songs series, but both had to cancel at short notice. Fortunately, the Wigmore Hall rises to such contingencies, and gave us Benjamin Appl and Jonathan Ware. Since there's a huge buzz about Appl, this was an opportunity to hear more of what he can do.

Ferrier Awards Winners’ Recital

The phrase ‘Sunday afternoon concert’ may suggest light, post-prandial entertainment, but soprano Gemma Lois Summerfield and her accompanist, Simon Lepper, swept away any such conceptions in this demanding programme at St. John’s Smith Square.

Pelléas et Mélisande at the Barbican

When, o when, will someone put Peter Sellars and his compendium of clichés out of our misery?

L'Arpeggiata: La dama d’Aragó, Wigmore Hall

Having recently followed some by-ways through the music of Purcell, Monteverdi and Cavalli, L’Arpeggiata turned the spotlight on traditional folk music in this characteristically vibrant and high-spirited performance at the Wigmore Hall.

Tippett : A Child of Our Time, London

Edward Gardner brought all his experience as a choral and opera conductor to bear in this stirring performance of Michael Tippett’s A Child of Our Time at the Barbican Hall, with a fine cast of soloists, the BBC Symphony Orchestra and BBC Symphony Chorus.

Taverner and Tavener, Fretwork, London

‘Apt for voices or viols’: eager to maximise sales among the domestic market in Elizabethan England, publishers emphasised that the music contained in collections such as Thomas Morley’s First Book of Madrigals to Four Voices of 1594 was suitable for performance by any combination of singers and players.

Fall of the House of Usher in San Francisco

It was a single title but a double bill and there was far more happening than Gordon Getty and Claude Debussy. Starting with Edgar Allen Poe.

The Merry Widow at Lyric Opera of Chicago

For its latest production of the current season Lyric Opera of Chicago is presenting Franz Lehár’s The Merry Widow (Die lustige Witwe) featuring Renée Fleming /Nicole Cabell as the widow Hanna Glawari and Thomas Hampson as Count Danilo Danilovich.

OPERA TODAY ARCHIVES »

Performances

Anna Devin as A, Owen Gilhooly as R,and Victoria Simmonds as Sister [Photo © ROH / Stephen Cummiskey]
09 Apr 2014

Luke Bedford: Through His Teeth, Linbury, Royal Opera House

Can this be the best British opera in years? Luke Bedford’s Through His Teeth at the Royal Opera House’s Linbury Theatre is exceptional. Drop everything and go.

Luke Bedford: Through His Teeth, Linbury, Royal Opera House

A review by Anne Ozorio

Above: Anna Devin as A, Owen Gilhooly as R,and Victoria Simmonds as Sister [Photo © ROH / Stephen Cummiskey]

 

This packs more into less than an hour than many works which might last five times as long. It’s so concentrated that further hearings will only intensify the respect that it’s due. Bedford, now resident in Berlin, has found astonishing maturity and depth. Through His Teeth is sophisticated, and perhaps a bit above the heads of some, but that’s exactly why Bedford is a true original.

Through His Teeth fires on all cylinders. A, (Anna Devin) a dowdy 30 something looks at fancy cars in a showroom. R (Owen Gilhooly) spots her and chats her up. "I'm not really a car salesman", he says. The tiny orchestra, CHROMA, conducted by Sian Edwards, screams alarm. The small trumpet in C wails like a warning klaxon. The harp's shortest strings are plucked to suggest tight, tense hollowness. An accordion gasps as if its lungs are too constricted to breathe. A doesn't take heed. R picked her out even before she entered the showroom, sensing, perhaps, the vulnerability even she doesn't comprehend. What really draws a sensible girl like A into R's crazy world ? It's not simply that he's good in bed. Almost from the start she knows something's wrong. R's paranoid and thinks he's under surveillance. A assumes he's MI5. So it's OK for her to accept flowers from him if he's taken them from someone he says he's just killed ? Morally, she too, is compromised.

Distorted values, distorted reality. The designs (Becs Andrews) capture the psychological dislocation implicitly in David Harrower's deceptively simple text. Walls slide across the stage, dividing it into tightly framed compartments. Sam Meech's videos fragment, offering mutiple different perspectives, even, perhaps that of the sinister surveillance person is watching him. R controls A because she lets herself get cut off from the world around her. Yet. the walls of her "prison" are pierced weith holes which she could look through if she wanted to. This is the Faustian pact she's made with R. Like Mephitopheles he can offer her the wildest dreams imaginable but she must sell her soul.

The clarinet in B flat sings a poisoned melody, like a snake charmer's instrument. The cello is played so its strings reverberate their whole length, like a snake, flexing its muscles sensuously, like a snake falling, willingly, into hypnosis. The percussionist beats brushes, quietly replicating a failing heartbeat. Bedford creates sounds that are so intriguing that the listener is drawn into an invisible trap, almost against one's will. With abstract music, Bedford recreates extreme psychological complexity. Through His Teeth isn't just about sex. Manipulative people create cults around themselves.

A sinks so deeply into R's psychosis that her sister (Victoria Simmonds, playing multiple roles) who lives in the real world, finds a way to trap him. R is put into prison. Gilhooly walks as if he';s in chains we cannot see. Brilliantly economic direction by Bijan Sheibani. Watch this director - he's very good. Chains we cannot see: perhaps that sums up the horrifying nature of these mind games. A meets another of R's women, (also Simmonds), a bag lady who blames herself for not being good enough to join the MI5 of R's imagination. Modern Mephistopheles prey on their victim's hidden weaknesses, sucking them into a web of their own making.

At the end, the TV interviewer (Simmonds again) asks A, who is now technically "free", what she would do if if she were to meet R again. The question is put gently.. A's response seems non committal, but Bedford's music suggests that A knows, deep in her heart, that she's do it all over again. The ending is powerful , all the more because it's so chillingly understated. Bedford's Through His Teeth is a major work, which needs to be carefully contemplated.

Anne Ozorio

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):