10 Jun 2014
Offenbach’s Vert-Vert at Garsington Opera
Is Garsington the new Glyndebourne, a Glyndebourne for the 21st Century?
On Thursday evening October 13, Los Angeles Opera transmitted Giuseppe Verdi’s Macbeth live from the Dorothy Chandler Pavilion, in the center of the city, to a pier in Santa Monica and to South Gate Park in Southeastern Los Angeles County. My companion and I saw the opera in High Definition on a twenty-five foot high screen at the park.
Director Richard Jones never met an opera he couldn’t ‘change,’ and Canadian Opera Company’s sumptuously sung Ariodante was a case in point.
“Hi! I’m at the Wigmore Hall!” American mezzo-soprano Jamie Barton’s exuberant excitement at finding herself performing in the world’s premier lieder venue was delightful and infectious. With accompanist James Baillieu, Barton presented what she termed a “love-fest” of some of the duo’s favourite art songs. The programme - Turina, Brahms, Dvořák, Ives, Sibelius - was also surely designed to show-case Barton’s sumptuous and balmy tone, stamina, range and sheer charisma; that is, the qualities which won her the First and Song Prizes at the 2013 BBC Cardiff Singer of the World Competition.
Canadian Opera Company has assembled a commendable Norma that is long on ritual imagery and war machinery.
“If I lacked ears, it would be bad, but still more bearable; but lacking a nose, a man is devil knows what: not a bird, not a citizen—just take and chuck him out the window!”
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.
Francesco Cavalli’s La Calisto was the composer’s ﬁfteenth opera, and the ninth to a libretto by Giovanni Faustini (1615-1651). First performed at the Teatro Sant’Apollinaire in Venice on 28th November 1651, the opera by might have been sub-titled ‘Gods Behaving Badly’, so debauched are the deities’ dalliances and deviations, so egotistical their deceptions.
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.
New from Oehms Classics, Walter Braunfels Orchestral Songs Vol 1. Luxury singers - Valentina Farcas, Klaus Florian Vogt and Michael Volle, with the Staatskapelle Weimar, conducted by Hansjörg Albrecht.
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.
Is Garsington the new Glyndebourne, a Glyndebourne for the 21st Century?
Invidious perhaps to make the suggestion that Glyndebourne might be about to be knocked of its perch, especially when the opera in question — Vert-Vert — features a girl’s school in collective mourning for a dead parrot, Monty Python meets the Belles of St Trinians? Sacré bleu!
Certainly Garsington’s musical standards are not far short of Glyndebourne’s and the place itself, the London side of Oxford but far easier to reach for people in London, the Midlands or the West Country, has an intimacy which recalls Glyndebourne’s ‘old house’ in its heyday. Garsington also has a canny management in that the three operas featured this year — Fidelio, Vert-Vert and Cunning Little Vixen — appeal to three potentially different audiences, Fidelio to the audience for grand opera but one ideally suited to a smallish house, Vert-Vert to an audience unashamedly in search of entertainment and a good evening out — it is a hoot — in an English country house setting, and Cunning Little Vixen to an audience prepared to try something quite different yet appealing to children. Astute.
Under Douglas Boyd’s leadership Garsington also seems to have grasped two other important factors. Firstly, that if we are going to pay top dollar we do not want to be treated to the absurdities — designer opera may all be very well in European cities where going to the opera is no big deal and you can walk home afterwards but not here, thank you — and secondly the need for proper conductors (who wants to go to, say, Le Nozze di Figaro conducted by a repetiteur when one has heard it conducted by the likes of Sir Colin Davis or Otto Klemperer). In this respect next year’s Garsington points the way with three productions led by three conductors any of whom one would happily see in a major opera house.
Once popular, Offenbach’s operettas — there are some 90 of them — might almost qualify, at least in England, as a lost genre. They call not merely for excellent singers but also the lightest hand on the orchestral tiller. The conductor David Parry’s passion for them and his certainty of touch is manifest at every turn. Their plots are convoluted to say the least but so was Offenbach’s own life. Born in Cologne, the son of a Jewish cantor, Isaac Eberst who in his travels as an itinerant violinist also became known as “der Offenbacher” (the name of his home town), he decided to use this name for his children. He took his two sons to Paris where young Jakob became Jacques and his cello playing was sufficiently impressive to impress Cherubini. Despite a ban on foreign students, he was admitted to the Paris Conservatoire, leaving after a year and becoming a cello sensation (he was dubbed “le Liszt du violoncelle”).
Naomi O’Connell as La Corilla with Quirijn de Lang as D’Arlange, Andrew Glover as Bergerac and Dragoons
In 1844 Jakob/Jacques married Herminie d’Alcain who was the step-daughter of an English impresario, John Mitchell. After a brief period back in Cologne following the 1848 revolution he was back in Paris, by now composing, but the doors of the Opéra-Comique were firmly closed to him (he had made the mistake of making fun of the great Meyerbeer) and he had the unusual but rather modern idea of starting a musical theatre himself. His opportunity came in the wake of the Great Exhibition when he acquired a tiny wooden built theatre in the grounds of the Exhibition called the Salle Lacaze and a licence to mount small-scale productions. “Ce petit spectacle d’été aurait pour titre les Bouffes-Parisiens” (ie. according to its licence the Bouffes-Parisiens was only intended as a temporary summer affair). Like Garsington, Offenbach had spotted a gap in the market since the Opéra-Comique had strayed from its original light opera purpose, putting on instead miniature grand operas. The rest, as they say, is history and Offenbach never looked back. Over the next 30 years he turned out some 90 operettas of which Orphée aux Enfers, La Vie Parisienne, La Belle Hélène and La Périchole (performed at Garsington 2 years ago) have endured. By a final delicious twist it was the much grander Les Contes d’Hoffmann — grand opera at its grandest — which he was working on at the time of his death by which he now best remembered.
Vert-Vert was first performed — ironically given its initial rejection of the composer — at the Opéra-Comique in 1869, the year before the Franco-Prussian war and, although it was performed in London in a much-reduced version at St. James’s Theatre in 1874, the current run of performances at Garsington is its first complete staging in England. Catch it if you can. It is a riot and deserves to transfer to the West End.
The plot, suitably Pythonesque given the dead parrot, is more or less impossible to précis. Suffice it to say we are in a girls convent school in mourning for its dead parrot, Vert-Vert. Cue general lamentations. The girls choose an innocent young man, Valentin, as a substitute parrot. Two of them, Bathilde and Emma, are secretly married to dashing young aristocratic dragoons, the Comte d’Arlange and the Chevalier de Bergerac. Mimi, another girl, is secretly in love with Valentin. There is a stern deputy headmistress who is also secretly married to the dancing master Baladon. Other characters include Binet, a gardener (here played with a broad Scots accent), La Corilla, a famous singer to whom to whom the originally goody two shoes Valentin clearly loses his innocence (in Manon Lescaut the Abbé Prévost describes it as “cheating the church of its dues”) and an assorted cast of dragoons and theatricals. Rather like a demented Brian Rix farce, mayhem ensues. All is happily resolved in the rousing final chorus (“A slurp of wine”) but in between there are some notably tender and affecting moments. This may be comic but it is comedy with a heart.
The production — a fine demonstration of ‘more is less’ but nonetheless with several coups de théâtre as when the back of the stage opens wide and the school/chateau is wheeled to the open space beyond with Garsington’s woods as a backdrop or another occasion when the rear of the stage opens to admit the barge named Hortense which bears Valentin away — was an object lesson in pointful economy. The costumes were gorgeous, colourful dragoons and an impromptu party of ‘theatricals’ in the second act, but above all as well as colourful they were entirely period appropriate.
Most importantly — and this is probably why the genre has never really caught on in Britain — in David Parry we had a conductor who, like Beecham, has the idiom at his fingertips, exuding panache, élan and élegance in equal measure (only French words will do). Beecham once talked of combining the maximum delicacy with the maximum virility, a comment which might well have applied to the Garsington orchestra on this occasion with its polished strings, an excellent first clarinet (Peter Sparks) in his several solos and a notably secure horn section. The score absolutely fizzed along.
As far as the singers are concerned a large cast with no obvious weak links was headed by the tenor Robert Murray as Valentin/Vert-Vert. a Jette Parker Young Artist at the Royal Opera with a superb voice (he has sung Tamino in Magic Flute and one can imagine him as excellent in the role), and by a diminutive but wonderfully feisty (shades of Ethel Merman) Welsh soprano, Fflur Wyn, in the role of Mimi. Other notable successes were the Dutch Quirijn de Lang and Andrew Glover as the two dragoon officers and Geoffrey Dolton as the Dancing Master giving a gloriously OTT display of the Pavane, the Gavotte and the Minuet (Yes, he can dance too).
One small quibble. David Parry’s translation into English is of course essential if a non French audience is to capture the piece’s absurdist, madcap quality and its various nuances. The translation’s rhyming couplets do sometimes sit inelegantly though with the actual musical line, occasionally giving it a MacGonegal-esque quality. However, I for one am more than happy to put up with the occasional infelicity in the interests of the many LOL moments. In short, a bonne bouche — even a canapé — and an undiluted triomphe from first note to last.
Cast and production information:
Valentin later called Vert-Vert: Robert Murray; Baladon dancing master: Geoffrey Dolton; Binet gardener: Mark Wilde; Bellecour singer: Alessandro Fisher; Le Comte d’Arlange officer of dragoons: Quirijn de Lang; Le Chevalier de Bergerac officer of dragoons: Andrew Glover; Friquet dragoon: Henry Neill; Maniquet theatre director: Jack Gogarty; La Corilla singer: Naomi O’Connell; Mademoiselle Paturelle assistant headmistress: Yvonne Howard; Mimi schoolgirl: Fflur Wyn; Bathilde schoolgirl: Raphaela Papadakis; Emma schoolgirl: Katie Bray; Conductor: David Parry; Director: Martin Duncan; Designer: Francis O’Connor; Lighting Designer: Howard Hudson; Choreographer: Ewan Jones; Assistant conductor: John Andrews; Assistant director: Matthew Eberhardt; Garsington Opera Orchestra & Chorus of schoolgirls, soldiers, actors and actresses.