Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Green: Mélodies françaises sur des poèmes de Verlaine

Philippe Jaroussky lends poetry and poise to the sounds of nineteenth- and twentieth-century France

J. C. Bach: Adriano in Siria

At this start of the year, Classical Opera embarked upon an ambitious project. MOZART 250 will see the company devote part of its programme each season during the next 27 years to exploring the music by Mozart and his contemporaries which was being written and performed exactly 250 years previously.

Bethan Langford, Wigmore Hall

The Concordia Foundation was founded in the early 1990s by international singer and broadcaster Gillian Humphreys, out of her ‘real concern for building bridges of friendship and excellence through music and the arts’.

Tansy Davies: Between Worlds (world premiere)

An opera dealing with — or at least claiming to deal with — the events of 11 September 2001? I suppose it had to come, but that does not necessarily make it any more necessary.

Arizona Opera Ends Season in Fine Style with Fille du Régiment

On April 10, 2015, Arizona Opera ended its season with La Fille du Régiment at Phoenix Symphony Hall. A passionate Marie, Susannah Biller was a veritable energizer bunny onstage. Her voice is bright and flexible with a good bloom on top and a tiny bit of steel in it. Having created an exciting character, she sang with agility as well as passion.

Il turco in Italia, Royal Opera

This second revival of Patrice Caurier and Moshe Leiser’s 2005 production of Rossini’s Il Turco in Italia seems to have every going for it: excellent principals comprising experienced old-hands and exciting new voices, infinite gags and japes, and the visual éclat of Agostino Cavalca’s colour-bursting costumes and Christian Fenouillat’s sunny sets which evoke the style, glamour and ease of La Dolce Vita.

The Siege of Calais
——
The Wild Man of the West Indies

English Touring Opera’s 2015 Spring Tour is audacious and thought-provoking. Alongside La Bohème the company have programmed a revival of their acclaimed 2013 production of Donizetti’s The Siege of Calais (L’assedio di Calais) and the composer’s equally rare The Wild Man of the West Indies (Il furioso all’isola di San Domingo).

The Met’s Lucia di Lammermoor

Mary Zimmerman’s still-fresh production is made fresher still by Shagimuratova’s glimmering voice, but the acting disappoints

Voices, voices in space, and spaces: Thoughts on 50 years of Meredith Monk

When WNYC’s John Schaefer introduced Meredith Monk’s beloved Panda Chant II, which concluded the four-and-a-half hour Meredith Monk & Friends celebration at Carnegie’s Zankel Hall, he described it as “an expression of joy and musicality” before lamenting the fact that playing it on his radio show could never quite compete with a live performance.

St. John Passion by Soli Deo Gloria, Chicago

This year’s concert of the Chicago Bach Project, under the aegis of the Soli Deo Gloria Music Foundation, was a presentation of the St. John Passion (BWV 245) at the Harris Theater in Millennium Park.

Fedora in Genoa

It is not an everyday opera. It is an opera that illuminates a larger verismo history.

The Marriage of Figaro, LA Opera

On March 26, 2015, Los Angeles Opera presented Mozart’s Le nozze di Figaro (The Marriage of Figaro). The Ian Judge production featured jewel-colored box sets by Tim Goodchild that threw the voices out into the hall. Only for the finale did the set open up on to a garden that filled the whole stage and at the very end featured actual fireworks.

The Tempest Songbook, Gotham Chamber Opera

Gotham Chamber Opera’s latest project, The Tempest Songbook, continues to explore the possibilities of unconventional spaces and unconventional programs that the company has made its hallmark. The results were musically and theatrically thought-provoking, and left me wanting more.

San Diego Opera presents Adams’ Riveting Nixon in China

Nixon in China is a three-act opera with a libretto by Alice Goodman and music by John Adams that was first seen at the Houston Grand Opera on October 22, 1987. It was the first of a notable line of operas by the composer.

Ars Minerva presents Castrovillari’s La Cleopatra in San Francisco

It is thanks to Céline Ricci, mezzo-soprano and director of Ars Minerva, that we have been able to again hear Daniele Castrovillari’s exquisite melodies because she is the musician who has brought his 1662 opera La Cleopatra to life.

An Ideal Cast in Chicago’s Tannhäuser

Lyric Opera of Chicago, in association with the Royal Opera House, Covent Garden, has staged a production of Richard Wagner’s Tannhäuser with an estimable cast.

Madame Butterfly, Royal Opera

Puccini and his fellow verismo-ists are commonly associated with explosions of unbridled human passion and raw, violent pain, but in this revival (by Justin Way) of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, directorial understatement together with ravishing scenic beauty are shown to be more potent ways of enabling the sung voice to reveal the emotional depths of human tragedy.

Tosca in Marseille

Rarely, very rarely does a Tosca come around that you can get excited about. Sure, sometimes there is good singing, less often good conducting but rarely is there a mise en scène that goes beyond stock opera vocabulary.

Poetry beyond words — Nash Ensemble, Wigmore Hall

The Nash Ensemble’s 50th Anniversary Celebrations at the Wigmore Hall were crowned by a recital that typifies the Nash’s visionary mission. Above, the dearly-loved founder, Amelia Freeman, a quietly revolutionary figure in her own way, who has immeasurably enriched the cultural life of this country.

Arizona Opera Presents Magritte Style Magic Flute

On March 7, 2015, Arizona Opera presented Dan Rigazzi’s production of Die Zauberflöte in Tucson. Inspired by the works of René Magritte, designer John Pollard filled the stage with various sizes of picture frames, windows, and portals from which he leads us into Mozart and Schikaneder’s dream world.

OPERA TODAY ARCHIVES »

Reviews

26 Jul 2014

Janáček’s Glagolitic Mass, BBC Proms

Composed during just a few weeks of the summer of 1926, Janáček’s Slavonic-text Glagolitic Mass was first performed in Brno in December 1927.

Leos Janáček : Glagolitic Mass, Brahms : Piano Concerto no 1, BBC Prom 9 Royal Albert Hall, London, 24th July 2014

A review by Claire Seymour

 

During the rehearsals for the premiere - just 3 for the orchestra and one 3-hour rehearsal for the whole ensemble - the composer made many changes, and such alterations continued so that by the time of the only other performance during Janáček’s lifetime, in Prague in April 1928, many of the instrumental (especially brass) lines had been doubled, complex rhythmic patterns had been ‘ironed-out’ (the Kyrie was originally in 5/4 time), a passage for 3 off-stage clarinets had been cut along with music for 3 sets of pedal timpani, and choral passages were also excised.

Were these changes a result of practical expediency? Too few rehearsals to work out solutions to performance problems; sopranos who could not sustain the high Bbs in the original ending to the Sanctus; instrumental players who found the unconventional, asymmetrical cross rhythms unfathomable in the Kyrie? Too few bars, perhaps, for the clarinettists to get off stage! Or, do they reflect Janáček’s revised, and final, musical judgement? For example, the composer added brass to the ending of the Sinfonietta for the reason that it was not possible to create the necessary climaxes without additional forces, and the same decision may have been taken in the case of the Mass.

Pre-occupied immediately afterwards with the composition of From the House of the Dead, Janáček reputedly declared that he was not inclined to concern himself with the score of the Glagolitic Mass. So, are the difficulties of the original performances still problems today? And, which version of the work best represents the composer’s intentions?

There are no unequivocal answers to these questions, but at the Royal Albert Hall we were offered the opportunity to hear the ‘raw’ Glagolitic Mass - startlingly imaginative, defiantly rhetorical, unquestionably ‘modern’ - when a reconstruction of the original 1926 score by Janáček scholar Paul Wingfield was performed by the London Symphony Chorus and Orchestra under the baton of Valery Gergiev.

This was certainly a rousing rendition, as Gergiev drew energised, committed playing and singing from the forces massed before him, and created expectancy and excitement from the alternations of brass, chorus and vocal soloists. The fanfares of the Intrada were vibrant and invigorating, while in the instrumental Uvod Gergiev allowed air between the varied instrumental voices.

The entry of the chorus in the Kyrie (Gospodi pomiluj) had the quiet simplicity of an unaffected prayer and this mood of sincere devotion was given added fervour by the entry of soprano Mlada Khudoley whose breath-taking power and projection did not in any way diminish the sumptuous beauty of her soaring lines. In common with all the soloists, Khudoley genuinely and fully appreciated the composer’s unique ‘operatic’ idiom.

In the Gloria (Slava) the chorus reached ecstatic heights, while the long Credo (Věruju) allowed Gergiev to find a diversity of moods and colours: the vocal solos and choral interjections were impassioned - tenor Mikhail Vekua’s proclamations shook the RAH rafters - but there was also some consoling sweetness during the gentle orchestral interlude. The Agnus Dei (Agneče Božij) was dark of hue, a moment of deep reflection before Thomas Trotter’s invigorated organ solo in which flamboyant technical proficiency was blended with a sense of the composer’s vehemence and zeal.

Janáček wrote: ‘I hear in the tenor solo a kind of high priest, in the soprano solo a maiden angel, in the chorus our people. The candles are high fir trees in the wood, lit up by stars; and somewhere in the ritual see a vision of the princely St Wenceslas. And the language is that of the missionaries Cyril and Methodius.’ Gergiev and the LSO and Chorus were true to this pantheistic spirit.

Barry Douglas first came to prominence in 1986 when he won the Tchaikovsky Competition. Currently mid-way through a monumental project to record the complete works for solo piano of both Brahms and Schubert, in the first half of the programme Douglas performed Brahms’s First Piano Concerto - and there was something of the introspection of the solo piano music about Douglas’s first entry, which was resigned and consciously removed from the orchestral tumult. This deliberation, focus and intense concentration contrasted markedly with the forthright vigour and rhetoric that Gergiev encouraged from the LSO in the dramatic orchestral opening passage.

Perhaps it was just where I was seated, or maybe the RAH acoustic is not suited to the symphonic blend of soloist and orchestra which Brahms crafts, but I found the LSO’s playing disappointingly heavy, the rhythms lacking bite, the textures dense, especially in the third movement Rondo. Conducting without a baton, Gergiev fluttered his hands and fingers incessantly but there was little that flickered lightly in the orchestral sound that these twitchings brought forth.

That’s not to say that there was not some fine instrumental playing. In the second movement, the clarinets and oboes played with poetry and pathos, and the demanding writing for horns and timpani was executed with great accomplishment throughout. But, I found myself focusing on Douglas’s solo voice: the warmth of the hymn-like chordal second subject in the first movement was wonderfully soothing and throughout Douglas’s virtuosity was wonderfully integrated within the eloquent communication of the spirit of Brahms’ music.

Claire Seymour


All BBC Proms can be heard online, internationally for 30 days after broadcast

Cast and production information:

Barry Douglas, piano. Mlada Khudoley, soprano; Yulia Mattochkina, mezzo soprano; Mikhail Vekua, tenor; Yuri Vorobiev, bass; Thomas Trotter, organ; Valery Gergiev, conductor; London Symphony Orchestra, London Symphony Chorus.

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):