02 Jun 2014
Sir Harrison Birtwistle — Yan Tan Tethera: A Mechanical Pastoral
A month in which London, or indeed anywhere else, saw one performances of a Birtwistle drama would be something.
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.
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).
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.
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.
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.
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.
In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.
Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.
On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.
There has been much reconstruction of Marseille’s magnificent Opera Municipal since it opened in 1787. Most recently a huge fire in 1919 provoked a major, five-year renovation of the hall and stage that reopened in 1924.
With her irresistible cocktail of spontaneity and virtuosity, Cecilia Bartoli is a beloved favourite of Amsterdam audiences. In triple celebratory mode, the Italian mezzo-soprano chose Rossini’s La Cenerentola, whose bicentenary is this year, to mark twenty years of performing at the Concertgebouw, and her twenty-fifth performance at its Main Hall.
Matthew Rose and Gary Matthewman Winterreise: a Parallel Journey at the Wigmore Hall, a recital with extras. Schubert's winter journey reflects the poetry of Wilhelm Müller, where images act as signposts mapping the protagonist's psychological journey.
Donizetti’s Anna Bolena, composed in 1830, didn’t make it to Lisbon until 1843 when there were 14 performances at its magnificent Teatro São Carlos (opened 1793), and there were 17 more performances spread over the next two decades. The entire twentieth century saw but three (3) performances in this European capital.
It is difficult to know where to begin to praise the stunning achievement of Opera San Jose’s West Coast premiere of Silent Night.
A month in which London, or indeed anywhere else, saw one performances of a Birtwistle drama would be something.
To have two, plus three associated concerts, all at the same venue, is something very special indeed. The Barbican has certainly done the composer proud with its ‘Birtwistle at 80’ series. Would that Britain’s greatest composer since Purcell were regularly so honoured; the contrast with the absurd overkill of last year’s Britten anniversary is instructive. At any rate, Yan Tan Tethera, written in 1983-4, first performed in 1986, and very rarely heard since — might Channel 4 make available its television broadcast? — shone both on its account and for the fuller sense it offered of Birtwistle’s musico-dramatic development.
To a libretto by Tony Harrison — any chance of seeing and hearing their Oresteia, someone? — this may perhaps seem more conventionally a chamber opera than Birtwistle’s earlier music-theatre pieces. And yet, listen more closely, and this tale of North and South, of shepherds counting sheep, of a malevolent piper, becomes more complex. There is a linear story, yes. Alan, the good, northern shepherd, who adheres to the old counting system, ‘yan, tan, tethera, ’ is drawn into the great hill — a precursor to Benjamin’s ‘little hill’? — by the piper and Caleb seems about to triumph, but the tables are turned. A modern, yet timeless, folk-like version of Virgil’s first Eclogue, Alan and Caleb the new Meliboeus and Tityrus, is far, however, from the whole, or perhaps better the only, story. The interaction, and at times apparent lack of it, between Harrison’s words and Birtwistle’s score are at least as much the story.
We are, as it were, in a ‘secret theatre’ once again. The ‘mechanics’ of the ‘mechanical pastoral’ tell of a story perhaps deeper than Virgil, even than Theocritus. Counting itself is both external and internal drama, which repeats, is broken, is reconstructed, yet is never the same. The choral sheep are counted and ultimately they too count. Birtwistle’s division of the ensemble into groups is part of that story, so is the journey towards unison, but, as Paul Griffiths noted in the final line of his helpful programme synopsis: ‘Alan leads his family and flock: Everyone is counting, eventually including Caleb underground, as the musical machinery moves on, now set aright.’ Who knows, however, whether the different perspectives, different pulses, different landscapes, different soundworlds we have passed through, will reassert themselves once again? Interestingly, and tellingly, Birtwistle (quoted in Michael Hall’s book on the composer, likened the structuring of his response to the libretto to that of Stravinsky to Auden. Yan Tan Tethera
has things I’ve never done before and I’m really quite excited about it. Did you know that it was Stravinsky who divided Auden’s text for The Rake’s Progress into recitatives and arias? Auden wrote his libretto without the divisions. Well, I’m imposing something on Tony Harrison’s libretto. Had I asked Tony to provide it for me, it wouldn’t have worked; the result would be too formal in the wrong sense, too predictable.
As so often with this composer, anything but a Stravinsky epigone — there have been more than enough of those — but rather a true successor, the musical drama has a good deal of inspiration, conscious or otherwise, in his great predecessor. As Jonathan Cross has noted, the very notion of the ‘mechanical pastoral’ is rooted in ‘the imaginary song of a mechanical bird,’ just like Stravinsky’s Nightingale. The opposition between North and South, country and the town that encroaches upon it, above all natural and mechanical, may perhaps prove a further kinship between the two composers.
If at first, then, I was a little disappointed by the necessarily basic nature of John Lloyd Davies’s ‘concert hall staging’, I realised after the event that the concentration necessity had thrown upon the music had very much its own ‘dramatic’ virtues too, enabling me to experience and indeed to conceptualise crucial oppositions in a work I had never heard before. For that, of course, a great deal of praise must be accorded the excellent performances. Baldur Brönnimann’s leadership of the equally fine Britten Sinfonia and Britten Sinfonia Voices was assured and (mechanically) expressive throughout. String glissandi — are they echoes of Tippett perhaps? — embodying, to quote David Beard, ‘both Alan’s subjective expression and the representative pastoral anecdote’ evoke both human acts and, perhaps still more so, that of the landscape, as ever with Birtwistle a potent force indeed. Such was undoubtedly apparent even from this, my first acquaintance with the work. Likewise the distinction between the almost conventionally haunting piper’s melody — still lodged in my memory — and the dramatic mechanisms surrounding it. The scintillating brilliance of the Britten Sinfonia’s response to the score was not the least of the evening’s revelations.
Roderick Williams’s Alan and Omar Ebrahim’s Caleb — extraordinary to think he appeared also in the premiere — led a fine cast, all attentive to words, music, and disjuncture. William’s naïve, northern sincerity — flat vowels and all, though sometimes they came and went — contrasted just as it should with Ebrahim’s ‘southern’ malevolence. Claire Booth offered a typically fine performance as Alan’s wife, Hannah, beautiful of tone, dignified and assured of purpose. Daniel Norman’s Piper or Bad’Un, and four boys from Tiffin School, Kingston, all made their mark very well too. Above all, this was a splendid ensemble performance. Now, may we hope for a fully staged version, in which dramatic oppositions receive some degree of visualisation from an aurally alert director?
Cast and production information:
Alan: Roderick Williams; Caleb Raven: Omar Ebrahim; Hannah: Claire Booth; Piper/Bad’Un: Daniel Norman; Jack: Ben Knight; Dick: Benjamin Clegg; Davie: Joe Gooding; Rob: Duncan Tarboton; John Lloyd Davies (director, design, lighting). Britten Sinfonia Voices (director: Eamonn Dougan)/Britten Sinfonia/Baldur Brönnimann (conductor). Barbican Hall, London, Thursday 29 May 2014.