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On August 1, 2015, Santa Fe Opera presented the world premiere of Cold Mountain, a brand new opera composed by Pulizer Prize and Grammy winner Jennifer Higdon.
Richard Taruskin entitled his 1988 polemical critique of the notion of ‘authenticity’ in the context of historically informed performance, ‘The Pastness of the Present and the Presence of the Past’.
Puccini’s Manon Lescaut at the Bayerische Staatsoper, Munich. Some will scream in rage but in its austerity it reaches to the heart of the opera.
It might seem churlish to complain about the BBC Proms coverage of Pierre
Boulez’s 90th anniversary. After all, there are a few performances
dotted around — although some seem rather oddly programmed, as if embarrassed
at the presence of new or newish music. (That could certainly not be claimed in
the present case.)
I recently spent four days in St. Petersburg, timed to coincide with the
annual Stars of the White Nights Festival. Yet the most memorable singing I
heard was neither at the Mariinsky Theater nor any other performance hall. It
was in the small, nearly empty church built for the last Tsar, Nicholas II, at
As I walked up Exhibition Road on my way to the Royal Albert Hall, I passed a busking tuba player whose fairground ditties were enlivened by bursts of flame which shot skyward from the bell of his instrument, to the amusement and bemusement of a rapidly gathering pavement audience.
A brilliant theatrical event, bringing Handel’s theatre of the mind to
life on stage
‘Here, thanks be to God, my opera is praised to the skies and there is nothing in it which does not please greatly.’ So wrote Antonio Vivaldi to Marchese Guido Bentivoglio d’Aragona in Ferrara in 1737.
Asphyxiations, atrophy by poison, assassination: in Italo Montemezzi’s
L’amore dei tre Re (The Love of the Three Kings, 1913) foul deed
follows foul deed until the corpses are piled high.
The precision of attack in the opening to Beethoven’s Creatures of Prometheus Overture signalled thoroughgoing excellence in the contribution
of the CBSO to this concert.
When he was skilfully negotiating the not inconsiderable complexities,
upheavals and strife of musical and religious life at the English royal court
during the Reformation, Thomas Tallis (c.1505-85) could hardly have imagined
that more than 450 years later people would be queuing round the block for the
opportunity spend their lunch-hour listening to the music that he composed in
service of his God and his monarch.
Two of the important late twentieth century stage directors, Robert Carsen and Peter Sellars, returned to the Aix Festival this summer. Carsen’s A Midsummer Night’s Dream is a masterpiece, Sellars’ strange Tchaikovsky/Stravinsky double bill is simply bizarre.
The annual celebration of young talent at the Royal Opera House is a magnificent showcase, and it was good to see such a healthy audience turnout.
There are few operas that can rival the visceral impact of a well-staged Jenůfa and Des Moines Metro Opera has emphatically delivered the goods.
The Girl of the Golden West (La Fanciulla del West) often gets eclipsed when compared to the rest of the mature Puccini canon.
First Night of the BBC Proms 2015 with Sakari Oramo in exuberant form, pulling off William Walton’s Belshazzar’s Feast with the theatrical flair it deserves.
With its revelatory production of Rappaccini’s Daughter performed outdoors in the city’s refurbished Botanical Gardens, Des Moines Metro Opera has unlocked the gate to a mysterious, challenging landscape of musical delights.
Des Moines Metro Opera has quite a crowd-pleasing production of The Abduction from the Seraglio on its hands.
Even by Shakespeare’s standards A Midsummer Night’s Dream, one of his earlier plays, boasts a particularly fantastical plot involving a bunch of aristocrats (the Athenian Court of Theseus), feuding gods and goddesses (Oberon and Titania), ‘Rude Mechanicals’ (Bottom, Quince et al) and assorted faeries and spirits (such as Puck).
What do we call Tristan und Isolde? That may seem a silly question.
Tristan und Isolde, surely, and Tristan for short, although
already we come to the exquisite difficulty, as Tristan and Isolde themselves partly seem (though do they only seem?) to recognise of that celebrated ‘und’.
20 Jul 2014
First Night of the BBC Proms : Elgar The Kingdom
The BBC Proms 2014 season began with Sir Edward Elgars The Kingdom (1903-6). It was a good start to the season,which commemorates the start of the First World War. From that perspective Sir Andrew Davis's The Kingdom moved me deeply.
Elgar dreamed of writing a trilogy of oratorios examining the nature of Christianity as Jesus taught his followers, using the grand context of the Edwardian taste. In The Apostles, Jesus sets out his beliefs in simple, human terms. Judas doubts him and is confounded. In The Kingdom, the focus is more diffuse. The disciples are many and their story unfolds through a series of tableaux, impressive set pieces, but with less obvious human drama. The final, part would hase been titled "The Last Judgement", when World and Time are destroyed and the faithful of all ages are raised from the dead, joining Jesus in Eternity. The sheer audacity of that vision may have stymied Elgar, much in the way that Sibelius's dreams for his eighth symphony inhibited realization. Fragments of The Last Judgement made their way into drafts for what was to be Elgar's third and final symphony, which we now know in Anthony Payne's performing version. There could be many reasons why Elgar didn't proceed, but he may well have intuited the contradiction between simple faith and extravagant gesture.
In his excellent programme notes, Stephen Johnson describes The Kingdom "as a kind of symphonic 'slow movement", a pause between two much more monumental pillars. It doesn't exist on its own out of context, and can't really be judged as a stand-alone. Elgar's creative output declined after the First World War. Since we know the wars that followed, listening to this piece is even more poignant. The Kingdom is a fragment of a confident but doomed past. I also like The Kingdom because, like The Apostles, it portrays Jesus and his followers are down-to-earth ordinary men and women encountering events normal comprehension. They're not pious saints but simple folk with fears and insecurities, saved by faith.
Andrew Davis conducted the Prelude with sober dignity. The disciples are starting a journey that continues 2000 years later. Davis's tempi were unhurried, with just enough liveliness to suggest the excitement of hopes to come. There are familiar themes from The Apostles here, and lyrical passages, which Davis conducted with particular finesse. I watched his hands sculpt curving shapes, and the BBC Symphony Orchestra responded well. Nice bright horns, seductive lower winds. The long pauses with which Davis marked the different parts of the piece serve a purpose, but tended to break the flow. However, Davis masterfully contrasted extreme of volume and relative quietness, giving dramatic structure.
When the combined forces of the BBC National Chorus of Wales and the BBC Symphony Chorus entered, the effect was splendid. This is what good choral singing should be: lush richness yet brightened by sharp, disciplined diction, individual sections clearly defined within the mass. These Christians march forwards but don't lose themselves to the multitude. Unsurprisngly, the chorus masters were two of the best in the genre: Adrian Partington (of Three Choirs fame) and Stephen Jackson.
The soloists were Erin Wall (Mary the Virgin), Catherine Wyn-Rogers (Mary Magdalene), Andrew Staples (St John) and Christopher Purves (St Peter). All are extremely reliable, and well experienced in large choral repertoire, and they delivered well. Staples, however, was unusually expressive. His firm, animated tenor seemed to shine from the dense textures in the music around him. The Kingdom unfolds like a procession of tableaux, each savoured at a measured pace, so Staples provided welcome individuality.
Interestingly, The Kingdom predicates on female figures. The contralto (Wyn-Rogers) has lovely recitatives and the soprano (Erin Wall) has the glorious"The sun goeth down". The female choruses have good music, too, and were very brightly coloured and lively. Davis highlighted the relationship between solo voices and instruments, such as the dialogue between Wall and the First Violin, Stephen Bryant. The Kingdom is a showpiece, not because it's flamboyant but because it's restrained. More a prolonged recitative than an aria, but without recitatives to hold the drama together, where would we be ? It's better, in many ways, to start the BBC Proms season with something esoteric than with something banal.