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.
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.
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.
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.
Desire and deception; Amor and artifice. In Jan Philipp Gloger’s new production of Così van tutte at the Royal Opera House, the artifice is of the theatrical, rather than the human, kind. And, an opera whose charm surely lies in its characters’ amiable artfulness seems more concerned to underline the depressing reality of our own deluded faith in human fidelity and integrity.
On September 22, 2016, Los Angeles Opera presented Darko Tresnjak’s production of Giuseppe Verdi’s opera Macbeth. Verdi and Francesco Maria Piave based their opera on Shakespeare’s play of the same name.
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.