27 Jul 2014
Schoenberg : Moses und Aron, Welsh National Opera, London
Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission.
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.
Like Carmen, Billy Budd is an operatic personage of such breadth and depth that he becomes unique to everyone. This signals that there is no Billy Budd (or Carmen) who will satisfy everyone. And like Carmen, Billy Budd may be indestructible because the opera will always mean something to someone.
American composer John Adams turns 70 this year. By way of celebration no less than seven concerts in this season’s NTR ZaterdagMatinee series feature works by Adams, including this concert version of his first opera, Nixon in China.
Despite the freshness, passion and directness, and occasional wry quirkiness, of many of the works which formed this lunchtime recital at the Wigmore Hall - given by mezzo-soprano Kathryn Rudge, pianist James Baillieu and viola player Guy Pomeroy - a shadow lingered over the quiet nostalgia and pastoral eloquence of the quintessentially ‘English’ works performed.
'Nobody does Gilbert and Sullivan anymore.’ This was the comment from many of my friends when I mentioned the revival of Mike Leigh's 2015 production of The Pirates of Penzance at English National Opera (ENO). Whilst not completely true (English Touring Opera is doing Patience next month), this reflects the way performances of G&S have rather dropped out of the mainstream. That Leigh's production takes the opera on its own terms and does not try to send it up, made it doubly welcome.
On Feb 3, 2017, Arizona Opera presented Giacomo Puccini’s dramatic opera Madama Butterfly. Sandra Lopez was the naive fifteen-year-old who falls hopelessly in love with the American Naval Officer.
In the last of my three day adventure, I headed to Vienna for the Wiener Philharmoniker at the Musikverein (my first time!) for Mahler and Brahms.
In Amsterdam legend Janine Jansen and the seventh Principal Conductor of the Royal Concertgebouw, Daniele Gatti, came together for their first engagement in a ravishing performance of Berg’s Violin Concerto.
I extravagantly scheduled hearing the Berliner, Concertgebouw Orchestra, and Wiener Philharmoniker, to hear these three top orchestra perform their series programmes opening the New Year.
There is no bigger or more prestigious name in avant-garde French theater than Romeo Castellucci (b. 1960), the Italian metteur en scène of this revival of Arthur Honegger’s mystère lyrique, Joan of Arc at the Stake (1938) at the Opéra Nouvel in Lyon.
On January 28, 2017, Los Angeles Opera premiered James Robinson’s nineteen twenties production of Mozart’s The Abduction from the Seraglio, which places the story on the Orient Express. Since Abduction is a work with spoken dialogue like The Magic Flute, the cast sang their music in German and spoke their lines in English.
Fecund Jason, father of his wife Isifile’s twins and as well father of his seductress Medea’s twins, does indeed have a problem — he prefers to sleep with and wed Medea. In this resurrection of the most famous opera of the seventeenth century he evidently also sleeps with Hercules.
Once again, we find ourselves thanking an unrepresentable being for Welsh National Opera’s commitment to its mission.
It is a sad state of affairs when a season that includes both Boulevard Solitude and Moses und Aron is considered exceptional, but it is - and is all the more so when one contrasts such seriousness of purpose with the endless revivals of La traviata which, Die Frau ohne Schatten notwithstanding, seem to occupy so much of the Royal Opera’s effort. That said, if the Royal Opera has not undertaken what would be only its second ever staging of Schoenberg’s masterpiece - the first and last was in 1965, long before most of us were born! - then at least it has engaged in a very welcome ‘WNO at the Royal Opera House’ relationship, in which we in London shall have the opportunity to see some of the fruits of the more adventurous company’s endeavours.
All of that would be more or less in vain, were the results not to attain the excellence Schoenberg demands. They were, in pretty much every respect, any of the doubtless inevitable shortcomings being of relatively minor importance. This was probably the finest work I have yet heard from Lothar Koenigs - to whose partnership with David Pountney we clearly owe many thanks. There can be no faking the necessary depth of musical understanding in this score, any more than there can be in Wagner or Brahms (or, indeed, anything that matters). Koenigs’s textual clarity and clarity of purpose not only enabled the drama to develop; they were in good part the Wagnerian embodiment, even representation, of the musical drama - not the least here of Schoenberg’s dialectics. There were occasional slips by the WNO Orchestra, but in no sense did they detract from a wholehearted contribution, which might have suggested that the work had been in its repertoire for years. (Recent Wagner, Berg, and indeed Henze will have done no harm, but even so )
Perhaps the most exceptional work of all - though opera is, or at least should be, one of the supreme elevations of collaboration over miserable, bourgeois ‘competition’ - came from the WNO Chorus. In an interview to accompany Pierre Boulez’s second recording of Moses, Schoenberg’s great - alongside the very different Michael Gielen, his greatest? - interpreter and critic remarked: ‘People always say that it’s not an opera but an oratorio, which Schoenberg later turned into an opera. That interested me, because I disagree with it. The chorus, for example, is the most important character in the opera. It’s like a chameleon, speaking for or against, sometimes even internally divided or emphatic in its support of one particular party; it is angry, it is docile, it comments on the action.’ Musically and dramatically - indeed, quite rightly there seemed little distinction to be made - the chorus succeeded in fulfilling Boulez’s and Schoenberg’s expectations. Whether en masse, soloistically, or at various stages of in between, whether singing, speaking or at various stages of in between, Schoenberg’s highly charged and often ravishingly beautiful choral writing - I was often set thinking of his psalm settings - were faithfully, viscerally communicated. And of course, communication, both its necessity and its impossibility, is very much the thing in this of all operas; or rather, it is one of the things, all of them, like the score itself derived entirely from a single row, proceeding from the necessity and impossibility of representing the Almighty Himself. If indeed that is who He is, for at least at times, an element of doubt should and did set in, with respect to whether Moses is on the wrong track all together. This is and was a drama, not a tract.
I had my moments of doubt concerning the production too. Jossi Wieler and Sergio Morabito, as revived - very well, insofar as I could tell - by Jörg Behr present the entirety of the action in a single, courtroom venue. Law is of course a concern of the drama in several respects, the law-giving properties of the twelve-note method involved in a complicated, dramatically generative relationship with Mosaic law and the law of Creation itself. Moreover, as Aron points out to Moses, the Tables of the Law are ‘images also, just part of the whole idea’. That said, the idea or ideas of law do not seem to be especially emphasised, and - without wishing for some entirely impractical as well as undesirable Cecil B. de Mille Biblical ‘epic’ presentation, which would make only too clear the truth of Adorno’s charge that grand opera prepared the way for popular cinema - it is difficult to feel, at least at first, that there is not an element of dramatic constriction in the monothematic scenic realisation. (I am not entirely sure what was meant by the description of having been ‘based on an original design by Anna Viebrock’, given that no further design work was credited.)
And yet, so long as one is prepared to do some thinking - and anyone who is not should be allowed anywhere near this opera - it is perfectly possible to glean a great deal; what appears to be constriction was in some sense also mental liberation, which again is one of the crucial dialectics at work in the drama itself, concerned as it and indeed all modern philosophy are with the Kantian antinomy between freedom and determinism. Not only can the courtroom - if indeed that is what it was - readily convert itself, sometimes with a little scenic rearrangement but above all through the engagement of our minds, into a venue for political and/or religious activity or, through Aron’s manipulative-representational skills, into a cinema, upon which the crowd can watch the orgy, as we watch the crowd. We, the receptive and creative audience - at least, that is what we should be - have to employ our minds to represent what the Israelites were seeing, and thus to engage in that very necessity and impossibility of representation of which Moses and Aron spoke and sang. That is not to say, of course, that we should never see what goes on; Reto Nickler’s excellent Vienna production (available on DVD, under the inspired musical direction of Daniele Gatti, with the Vienna orchestra playing this music as only it can) shows what can be done with modern communicative messages of advertising and pornography. But what first seems as though it may simply be a cowardly - or even financially necessary - abdication of responsibility is revealed to be something much more interesting and, at some level, even provocatively Schoenbergian.
John Tomlinson’s assumption of the title role was predictably imposing. There was a good deal of what Gary Tomlinson has called the ‘Michelangesque terribilità’ of Schoenberg’s flawed hero, though I could not help but feel that the melodrama was overdone in the final scene. Still, the tragic grandeur, very much in the line of Wotan, of Tomlinson’s Moses was unquestionable. Although he seemed to have tired a little in the first half of the second act, Rainer Trost’s Aron proved a fine foil. I am not sure I have heard so clear a contrast between Sprechstimme and sinuous twelve-note bel canto (with a good deal of Siegfried et al. thrown in). Spatial matters played their role in the first act; placing on stage heightened the unbridgeable contrast between the two characters competing on unequal yet still justified terms. (One should never fall into the trap of saying that Moses is right and Aron is wrong; Schoenberg tilts the scales but remains some way from upending them, and there are certainly occasions when Moses is shown to be unambiguously, even unimaginatively in the wrong.)
Were I to proceed to hymn musico-dramatic excellence in the smaller roles, I should probably find myself simply repeating the cast list. However, I shall, in the spirit of the work, attempt the impossible, and single out Richard Wiegold’s stentorian Priest, the exemplarily alert contributions of Daniel Grice and Alexander Sprague, and the - literally - unearthly beauty summoned up by the chorus of six solo voices: Fiona Harrison, Amanda Baldwin, Sian Meinir, Peter Wilman, Alastair Moore, and Laurence Cole. For a work that struggles, like Aquinas, with a theological via negative, there was a great deal to be positive and thankful about. Three cheers to WNO!
Cast and production information:
Moses: Sir John Tomlinson; Aron: Rainer Trost; A Young Maiden, First Naked Virgin: Elizabeth Atherton; A Youth: Alexander Sprague; Another Man, An Ephraimite: Daniel Grice; A Priest: Richard Wiegold; First Elder: Julian Boyce; Second Elder: Laurence Cole; Third Elder: Alastair Moore; Sick Woman, Fourth Naked Virgin: Rebecca Alonwy-Jones; Naked Youth: Edmond Choo; Second Naked Virgin: Fiona Harrison; Third Naked Virgin: Louise Ratcliffe; Chorus of six solo voices: Fiona Harrison, Amanda Baldwin, Sian Meinir, Peter Wilman, Alastair Moore, Laurence Cole. Jossi Wieler and Sergio Morabito (directors); Jörg Behr (revival director); Anna Viebrock (original designs); Tim Mitchell (lighting). Chorus and Extra Chorus of Welsh National Opera (chorus master: Stephen Harris)/Orchestra of Welsh National Opera/Lothar Koenigs (conductor). Royal Opera House, Covent Garden, London, Friday 25 July 2014.