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

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.

History Repeating Itself: Prokofiev’s Semyon Kotko, Amsterdam Concertgebouw

A historical afternoon at the NTR Saturday Matinee occurred with an epic concert version of Prokofiev’s Soviet Opera Semyon Kotko.

L’amour de loin at the Metropolitan Opera

Opening night at the Metropolitan is a gleeful occasion even when the composer is long gone, but December 1st was an opening for a living composer who has been making waves around the world and is, gasp, a woman — the second woman composer ever to have an opera presented at the Met.

La finta giardiniera at the Royal College of Music

For an opera that has never quite made it over the threshold into the ‘canonical’, the adolescent Mozart’s La finta giardiniera has not done badly of late for productions in the UK. In 2014, Glyndebourne presented Frederic Wake-Walker’s take on the eighteen-year-old’s dramma giocoso. Wake-Walker turned the romantic shenanigans and skirmishes into a debate on the nature of reality, in which the director tore off layers of theatrical artifice in order to answer Auden’s rhetorical question, ‘O tell me the truth about love’.

Lust for Revenge: Barenboim and Herlitzius fire up Strauss’s Elektra in Berlin

As the German language describes so beautifully, a “Schrei aus tiefstem Herzen” was felt as Evelyn Herlitzius channelled an Elektra from the depths of her soul.

Semyon Bychkov heading to NYC and DC with Glanert and Mahler

Heading to N.Y.C and D.C. for its annual performances, the Royal Concertgebouw Orchestra invited Semyon Bychkov to return for his Mahler debut with the Fifth Symphony. Having recently returned from Vienna with praise for their rendition, the orchestra now presented it at their homebase.

Lost Stravinsky re-united with Rimsky-Korsakov, Gergiev, Mariinsky

Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.

Philippe Jaroussky at the Wigmore Hall: Baroque cantatas by Telemann and J.S.Bach

On Tuesday evening this week, I found myself at The Actors Centre in London’s Covent Garden watching a performance of Unknowing, a dramatization of Schumann’s Frauenliebe und Leben and Dichterliebe (in a translation by David Parry, in which Matthew Monaghan directed a baritone and a soprano as they enacted a narrative of love, life and loss. Two days later at the Wigmore Hall I enjoyed a wonderful performance, reviewed here, by countertenor Philippe Jaroussky with Julien Chauvin’s Le Concert de la Loge, of cantatas by Telemann and J.S. Bach.

The new Queen of the City of Birmingham Symphony Orchestra

Here is one of the next new great conductors. That’s a bold statement, but even the L.A. Times agrees: Mirga Gražinytė-Tyla’s appointment “is the biggest news in the conducting world.” But Ms. Mirga Gražinytė-Tyla will be getting a lot of weight on her shoulders.

Falstaff at Manitoba Opera

Manitoba Opera chose to open its 44th season by going for the belly laughs — literally — as it notably presented its inaugural production of Verdi’s Falstaff.

Gothic Schubert : Wigmore Hall, London

Macabre and moonstruck, Schubert as Goth, with Stuart Jackson, Marcus Farnsworth and James Baillieu at the Wigmore Hall. An exceptionally well-planned programme devised with erudition and wit, executed to equally high standards.

Rusalka, AZ Opera

On November 20, 2016, Arizona Opera completed its run of Antonín Dvořák’s fairy Tale opera, Rusalka. Loosely based on Hand Christian Andersen’s The Little Mermaid, Joshua Borths staged it with common objects such as dining room chairs that could be found in the home of a child watching the story unfold.

First new Ring Cycle in 40 Years, Leipzig

Consistently overshadowed by the neighboring Bayreuth, the far less stuffy Oper Leipzig (Wagner’s birthplace) programmed after forty years their first complete Ring Cycle.

San Jose’s Beta-Carotene Rich Barber

You didn’t have to know the Bugs Bunny oeuvre to appreciate Opera San Jose’s enchanting Il barbiere di Sivigila, but it sure enhanced your experience if you did.

Manon Lescaut at Covent Garden

If there was ever any doubt that Puccini’s Manon is on a road to nowhere, then the closing image of Jonathan Kent’s 2014 production of Manon Lescaut (revived here for the first time, by Paul Higgins) leaves no uncertainty.

Fierce in War, dazzling in Peace: Joyce DiDonato at the Concertgebouw

Many opera singers are careful to maintain an air of political neutrality. Not so mezzo-soprano Joyce DiDonato, who is outspoken about causes she holds dear. Her latest project, a very personal response to the 2015 terror attacks in Paris, puts her audience through the emotional wringer, but also showers them with musical rewards.

Simplicius Simplicissimus

I wonder if Karl Amadeus Hartmann saw something of himself in the young Simplicius Simplicissimus, the eponymous protagonist of his three-scene chamber opera of 1936. Simplicius is in a sort of ‘Holy Fool’ who manages to survive the violence and civil strife of the Thirty Years War (1618-48), largely through dumb chance, and whose truthful pronouncements fall upon the ears of the deluded and oppressive.

Lucia di Lammermoor at Lyric Opera of Chicago

For its second opera of the 2016-17 season Lyric Opera of Chicago has staged Gaetano Donizetti’s Lucia di Lammermoor in a production seen at the Maggio Musicale Fiorentino and the Grand Théâtre de Genève.

Akhnaten Offers L A Operagoers Both Ear and Eye Candy

Akhnaten is the third in composer Philip Glass’s trilogy of operas about people who have made important contributions to society: Albert Einstein in science, Mahatma Gandhi in politics, and Akhnaten in religion. Glass’s three operas are: Einstein on the Beach, Satyagraha, and Akhnaten.

Shakespeare in the Late Baroque - Bampton Classical Opera

Shakespeare re-imagined for the very Late Baroque, with Bampton Classical Opera at St John's Smith Square. "Shakespeare, Shakespeare, Shakespeare....the God of Our Idolatory". So wrote David Garrick in his Ode to Shakespeare (1759) through which the actor and showman marketed Shakespeare to new audiences, fanning the flames of "Bardolatory". All Europe was soon caught up in the frenzy.

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):