Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Performances

Le Concert Royal de la Nuit - Ensemble Correspondances

Le Concert Royal de la Nuit with Ensemble Correspondances led by Sébastien Daucé, the glorious culmination of the finest London Festival of the Baroque in years on the theme "Treasures of the Grand Siècle". Le Concert Royal de la Nuit was Louis XIV's announcement that he would be "Roi du Soleil", a ruler whose magnificence would transform France, and the world, in a new age of splendour.

Voices of Revolution – Prokofiev, Exile and Return

Seven, they are Seven , op.30; Violin Concerto no.1 in D minor, op.19; Cantata for the Twentieth Anniverary of the October Revolution, op.74. David Butt Philip (tenor), Pekka Kuusisto (violin), Aidan Oliver (voice of Lenin, chorus director), Philharmonia Voices, Crouch End Festival Chorus, Students of the Royal Welsh College of Music and Drama (military band), Philharmonia Orchestra/Vladimir Ashkenazy (conductor). Royal Festival Hall, London, Sunday 20 May 2018.

Charpentier Histoires sacrées, staged - London Baroque Festival

Marc-Antoine Charpentier Histoires sacrées with Ensemble Correspondances, conducted by Sébastien Daucé, at St John's Smith Square, part of the London Festival of the Baroque 2018. This striking staging, by Vincent Huguet, brought out its austere glory: every bit a treasure of the Grand Siècle, though this grandeur was dedicated not to Sun God but to God.

Aïda in Seattle: don’t mention the war!

When Francesca Zambello presented Aïda at her own Glimmerglass Opera in 2012, her staging was, as they say, “ripped from today’s headlines.” Fighter planes strafed the Egyptian headquarters as the curtain rose, water-boarding was the favored form of interrogation, Radames was executed by lethal injection.

Glyndebourne Festival Opera 2018 opens with Annilese Miskimmon's Madama Butterfly

As the bells rang with romance from the tower of St George’s Chapel, Windsor, the rolling downs of Sussex - which had just acquired a new Duke - echoed with the strains of a rather more bitter-sweet cross-cultural love affair. Glyndebourne Festival Opera’s 2018 season opened with Annilese Miskimmon’s production of Madama Butterfly, first seen during the 2016 Glyndebourne tour and now making its first visit to the main house.

Remembering Debussy

This concert might have been re-titled Remembrance of Musical Times Past: the time, that is, when French song, nurtured in the Proustian Parisian salons, began to gain a foothold in public concert halls. But, the madeleine didn’t quite work its magic on this occasion.

A chiaroscuro Orfeo from Iestyn Davies and La Nuova Musica

‘I sought to restrict the music to its true purpose of serving to give expression to the poetry and to strengthen the dramatic situations, without interrupting the action or hampering it with unnecessary and superfluous ornamentations. […] I believed further that I should devote my greatest effort to seeking to achieve a noble simplicity; and I have avoided parading difficulties at the expense of clarity.’

Lessons in Love and Violence: powerful musical utterances but perplexing dramatic motivations

‘What a thrill -/ My thumb instead of an onion. The top quite gone/ Except for a sort of hinge/ Of skin,/ A flap like a hat,/ Dead white. Then that red plush.’ Those who imagined that Sylvia Plath (‘Cut’, 1962) had achieved unassailable aesthetic peaks in fusing pain - mental and physical - with beauty, might think again after seeing and hearing this, the third, collaboration between composer George Benjamin and dramatist/librettist Martin Crimp: Lessons in Love and Violence.

Les Salons de Pauline Viardot: Sabine Devieilhe at Wigmore Hall

Always in demand on French and international stages, the French soprano Sabine Devieihle is, fortunately, becoming an increasingly frequent visitor to these shores. Her first appearance at Wigmore Hall was last month’s performance of works by Handel with Emmanuelle Haïm’s Le Concert d’Astrée. This lunchtime recital, reflecting the meetings of music and minds which took place at Parisian salon of the nineteenth-century mezzo-soprano Pauline Viardot (1821-1910), was her solo debut at the venue.

Jesus Christ Superstar at Lyric Opera of Chicago

Lyric Opera of Chicago is now featuring as its spring musical Jesus Christ Superstar with music and lyrics by Andrew Lloyd Webber and Tim Rice. The production originated with the Regent’s Park Theatre, London with additional scenery by Bay Productions, U.K. and Commercial Silk International.

Persephone glows with life in Seattle

As a figure in the history of 20th century art, few deserve to be closer to center stage than Ida Rubenbstein. Without her talent, determination, and vast wealth, Ravel’s Boléro, Debussy’s Martyrdom of St. Sebastien, Honegger’s Joan of Arc at the Stake, and Stravinsky’s Perséphone would not exist.

La concordia de’ pianeti: Imperial flattery set to Baroque splendor in Amsterdam

One trusts the banquet following the world premiere of La concordia de’ pianeti proffered some spicy flavors, because Pietro Pariati’s text is so cloying it causes violent stomach-churning. In contrast, Antonio Caldara’s music sparkles and dances like a blaze of crystal chandeliers.

Kathleen Ferrier Awards Final 2018

The 63rd Competition for the Kathleen Ferrier Awards 2018 was an unusually ‘home-grown’ affair. Last year’s Final had brought together singers from the UK, the Commonwealth, Europe, the US and beyond, but the six young singers assembled at Wigmore Hall on Friday evening all originated from the UK.

Affecting and Effective Traviata in San Jose

Opera San Jose capped its consistently enjoyable, artistically accomplished 2017-2018 season with a dramatically thoughtful, musically sound rendition of Verdi’s immortal La traviata.

Brahms Liederabend

At his best, Matthias Goerne does serious (ernst) at least as well as anyone else. He may not be everyone’s first choice as Papageno, although what he brings to the role is compelling indeed, quite different from the blithe clowning of some, arguably much closer to its fundamental sadness. (Is that not, after all, what clowns are about?) Yet, individual taste aside, whom would one choose before him to sing Brahms, let alone the Four Serious Songs?

Angel Blue in La Traviata

One of the most beloved operas of all time, Verdi’s “ La Traviata” has never lost its enduring appeal as a tragic tale of love and loss, as potent today as it was during its Venice premiere in 1853.

Matthias Goerne and Seong-Jin Cho at Wigmore Hall

Is it possible, I wonder, to have too much of a ‘good thing’? Baritone Matthias Goerne can spin an extended vocal line and float a lyrical pianissimo with an unrivalled beauty that astonishes no matter how many times one hears and admires the evenness of line, the controlled legato, the tenderness of tone.

Philip Venables: 4.48 Psychosis

Madness - or perhaps, more widely, insanity - in opera goes back centuries. In Handel’s Orlando (1733) it’s the dimension of a character’s jealousy and betrayal that drives him to the state of delusion and madness. Mozart, in Idomeneo, treats Electra’s descent into mania in a more hostile and despairing way. Foucault would probably define these episodic operatic breakdowns as “melancholic”, ones in which the characters are powerless rather than driven by acts of personal violence or suicide.

European premiere of Unsuk Chin’s Le Chant des enfants des étoiles, with works by Biber and Beethoven

Excellent programming: worthy of Boulez, if hardly for the literal minded. (‘I think you’ll find [stroking chin] Beethoven didn’t know Unsuk Chin’s music, or Heinrich Biber’s. So … what are they doing together then? And … AND … why don’t you use period instruments? I rest my case!’)

Rising Stars in Concert 2018 at Lyric Opera of Chicago

On a recent weekend evening the performers in the current roster of the Patrick G. and Shirley W. Ryan Opera Center at Lyric Opera of Chicago presented a concert of operatic selections showcasing their musical talents. The Lyric Opera Orchestra accompanied the performers and was conducted by Edwin Outwater.

OPERA TODAY ARCHIVES »

Performances

Jean-Philippe Rameau (1683-1764) by Guillaume Philippe Benoist [Source: WikiMedia]
31 Jul 2014

Rameau Grand Motets, BBC Proms

Best of the season so far! William Christie and Les Arts Florissants performed Rameau Grand Motets at late night Prom 17.

Jean-Philippe Rameau, Grand Motets, William Christie, Les Arts Florissant, BBC Prom 17, Royal Albert Hall, London 29h July 2014

A review by Anne Ozorio

Above: Jean-Philippe Rameau (1683-1764) by Guillaume Philippe Benoist [Source: WikiMedia]

 

Perfection, as one would expect from arguably the finest Rameau interpreters in the business, and that's saying a lot, given the exceptionally high quality of French baroque performance in the last 40 years.

Even more meaningfully, this perfection was mixed with joy and humour. This was an hommage to Rameau, whose 250th anniversary we celebrate, But for us in the audience, it was also an hommage to William Christie, who founded Les Arts Florissants in 1979. Christie and the generations of artists he has inspired blend new scholarly research with musical intelligence.

In his lifetime, Rameau was something of a radical. Christie and modern baroque specialists present Rameau's music as vinrantly as it might have been when was still new. Deus noster refugium (1713) (God is our refuge) begins in relatively conventional mode, suitable for decorous church performance. Then a wilder, almost dance-like mood takes over, ushered in by "footsteps"in the vocal line, where each syllable is deliberately defined. The voices sing with firm conviction, while the forces around them are in tumult. With a little imagination, we can hear, as Lindsay Kemp describes in his programme notes, "''mountains' cast into the sea (bursts of tremolos and rushing scales in the strings, stoically resisted by firmly regular crotchets in the three solo voices; swelling waters (smooth but restless choral writing over forward-driving strings); and finally streams that 'filled the city of God with joy' a gigue-like aria for soprano with solo violin".

Quam dilecta tabernacula (1713-15?) (How lovely is thy dwelling place) allows Rameau to write elaboately decorative fugal patterns. Rameau, the master of technical form, also manages to evoke the beauty of the outdoors. The piece begins with very high soprano, accompanied by delicate winds : pastoral, sensual and mysteriously unearthly. The choruses introduce a livelier mood, which might suggest fecundity and vigorous growth. The soprano solo is balanced by a tenor solo, then later by baritone. Elegant design, reminiscent of baroque gardens, laid out in tight formation. When the soloists sing in ensemble, and later with full chorus, the voices entwine gracefully.

The version of In convertendo Dominus (Psalm 126, When the Lord turned again the Captivity of Zion) only now exists in a revision made for Holy Week in 1751. The piece begins with a wonderful part for very high tenor, presaging the passion later French opera would have for the voice type. Do we owe Enée and Robert le Diable to Rameau? Reinoud Van Mechelen's voice rang nicely, joined by the other five soloists in merry, lilting chorus that suggests laughter. The bass Cyril Costanzo's art was enhanced by whip-like flourishes of brass and wind. Even lovelier, the well decorated soprano passages, which lead into a beautiful blending of solo voices and orchestra. A pause: and then the exquisite chorus. "They that go out weeping....shall come back in exultation, carrying their sheaves with them. Christie balances the voices so finely that one really hears "sheaves", united and golden.

If these Grand Motets weren't enough, Christie continued with so many encores that the BBC schedule was thrown off kilter, and only one can be heard on rebroadcast. Haha! I thought, admiring Christie's bravado. Since I'd come for the music (and for Les Arts Flo) I was glad I could stay, and not worry about mundane things like missing the last bus. "Hahahahahaha " went the chorus in the excerpt from Jean-Joseph Cassanéa de Mondonville's In exitu Israel (1753) on exactly the same subject. A brilliant choice! Just as in Rameaus In convertendo Dominus, the Hebrews are laughing because they've been freed. Rameau's laughter is more subtle, Mondonville's more crude, "crowd pleasing" to the point of being coarse. Christie is making a point. Mondonville was more fashionable at the time, but as we know now, Rameau has had the last laugh.

Christie continued with an extract from Rameau's Castor et Pollux which was used with words of the, Kyrie Eléison for Rameau's funeral Mass. The opera and its successors meant a lot to the composer, and to Christie, who conducted Hippolyte et Aricie at Glyndebourne last year (read my review HERE). Christie is no fool. Respect his choices. He knows baroque style better than most, and chose as director Jonathan Kent, with whom he created the magnificent Glyndebourne Purcell The Fairy Queen. "If it's good enough for Bill Christie", my companion said, "It's good enough for me". At the interval at Glyndebourne we bumped into Christie himself, and told him. He beamed with delight, his eyes twinkling. "That's what I like", he grinned.

Christie and Les Arts Florissantes ended with an excerpt from Les Indes Galantes, their greatest hit, which revolutionized public perceptions of the genre. The baroque era was audacious, given to extravagant, crazy extremes. People embraced the new world outside Europe, and delighted in exotic fantasy. Po-faced litera;ism is an aberration of late 20th century culture, dominated by TV. To really appreciate baroque style, it helps to understand the period. "You have to steep yourself in historical, performance practice", says Christie. "it has to become completely natural and spontaneous. If the public starts to become aware of the archaeological aspects, then we've failed. I think one of the reasons we've had success in Les Arts Florissants is because we've become completely instinctive". This fabulous Prom unleashed the joy, energy and wit in the style. Christie makes Rameau, and the spirit of his age, come alive.

Anne Ozorio

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):