10 Jun 2014
Offenbach’s Vert-Vert at Garsington Opera
Is Garsington the new Glyndebourne, a Glyndebourne for the 21st Century?
Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.
Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.
The atmosphere was a bit electric on February 25 for the opening night of Leoš Janàček’s 1921 domestic tragedy, and not entirely in a good way.
Applications are now open for the Bampton Classical Opera Young Singers’ Competition 2017. This biennial competition was first launched in 2013 to celebrate the company’s 20th birthday, and is aimed at identifying the finest emerging young opera singers currently working in the UK.
Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).
Handel’s Partenope (1730), written for his first season at the King’s Theatre, is a paradox: an anti-heroic opera seria. It recounts a fictional historic episode with a healthy dose of buffa humour as heroism is held up to ridicule. Musicologist Edward Dent suggested that there was something Shakespearean about Partenope - and with its complex (nonsensical?) inter-relationships, cross-dressing disguises and concluding double-wedding it certainly has a touch of Twelfth Night about it. But, while the ‘plot’ may seem inconsequential or superficial, Handel’s music, as ever, probes the profundities of human nature.
The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.
On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).
For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.
The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.
A skewering of the preening pretentiousness of the Pre-Raphaelites and Aesthetes of the late-nineteenth century, Gilbert and Sullivan’s 1881 operetta Patience outlives the fashion that fashioned it, and makes mincemeat of mincing dandies and divas, of whatever period, who value style over substance, art over life.
Irish mezzo-soprano Tara Erraught demonstrated a relaxed, easy manner and obvious enjoyment of both the music itself and its communication to the audience during this varied Rosenblatt Series concert at the Wigmore Hall. Erraught and her musical partners for the evening - clarinettist Ulrich Pluta and pianist James Baillieu - were equally adept at capturing both the fresh lyricism of the exchanges between voice and clarinet in the concert arias of the first half of the programme and clinching precise dramatic moods and moments in the operatic arias that followed the interval.
This Sunday the Metropolitan Opera will feature as part of the BBC Radio 3 documentary, Opera Across the Waves, in which critic and academic Flora Willson explores how opera is engaging new audiences. The 45-minute programme explores the roots of global opera broadcasting and how in particular, New York’s Metropolitan Opera became one of the most iconic and powerful producers of opera.
On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.
During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.
The first production of Ryan Wigglesworth’s first opera, based upon Shakespeare’s The Winter’s Tale, is clearly a major event in English National Opera’s somewhat trimmed-down season. Wigglesworth, who serves also as conductor and librettist, professes to have been obsessed with the play for more than twenty years, and one can see why The Winter’s Tale, with its theatrical ‘set-pieces’ - the oracle scene, the tempest, the miracle of a moving statue - and its grandiose emotions, dominated as the play is by Leontes’ obsessively articulated, over-intellectualized jealousy, would invite operatic adaptation.
Today, Wexford Festival Opera announced the programme and principal casting details for the forthcoming 2017 festival. Now in its 66th year, this internationally renowned festival will run over an extended 18-day period, from Thursday, 19 October to Sunday, 5 November.
A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.
Gustav Mahler and fin-de-siècle Vienna will be the focus of the Oxford Lieder Festival (13-28 October 2017), exploring his influences, contemporaries and legacy. Mahler was a dominant musical personality: composer and preeminent conductor, steeped in tradition but a champion of the new. During this Festival, his complete songs with piano will be heard, inviting a fresh look at this ’symphonic’ composer and the enduring place of song in the musical landscape.
On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.
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.