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.
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.
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.
There are not many opera productions that you would cross oceans to see. Graham Vick’s Götterdämmerung in Sicily however compelled such a voyage.
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 opera-novel Quicksand makes for a novel experience
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).
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.
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 . . .
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.
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.
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.
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’.
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.
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.
When, o when, will someone put Peter Sellars and his compendium of clichés out of our misery?
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.
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.
‘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.
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.
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.
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.