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

Il barbiere di Siviglia, Glyndebourne Festival Opera at the Proms

For its annual visit to the BBC Proms at the Royal Albert Hall, Glyndebourne brought its new production of Rossini's Il barbiere di Siviglia, an opera which premiered 200 years ago.

Béatrice and Bénédict at Glyndebourne

‘A caprice written with the point of a needle’: so Berlioz described his opera Béatrice and Bénédict, which pares down Shakespeare’s Much Ado About Nothing to its comic quintessence, shorn of the sub-plots, destroyed reputations and near-bloodshed of Shakespeare’s original.

Der fliegende Holländer, Bavarian State Opera

‘This is the way the world ends. Not with a bang but a whimper.’ It is, perhaps, a line quoted too often; yet, even though it may not have been entirely accurate on this occasion, it came to my mind. Its accuracy might be questioned in several respects.

Evergreen Baby in Colorado

Central City Opera celebrated the 60th anniversary of The Ballad of Baby Doe with a hip, canny, multi-faceted new production.

Lean and Mean Tosca in Colorado

Someone forgot to tell Central City Opera that it would be difficult to fit Puccini’s (usually) architecturally large Tosca on their small stage.

Die Walküre, Baden-Baden

A cast worthy of Bayreuth made for an unforgettable Wagnerian experience at the Sommer Festspiele in Baden-Baden.

Des Moines’ Elusive Manon

Loving attention to the highest quality was everywhere evident in Des Moines Metro Opera’s Manon.

Falstaff in Iowa: A Big Fat Hit

Des Moines Metro Opera had (almost) all the laughs in the right places, and certainly had all the right singers in these meaty roles to make for an enjoyable outing with Verdi’s masterpiece

Die Fledermaus, Opera Holland Park

With the thermometers reaching boiling point, there’s no doubt that summer has finally arrived in London. But, the sun seems to have been shining over the large marquee in Holland Park all summer.

Nice, July 14, and then . . .

J.S. Bach’s cerebral Art of the Fugue in Aix, Verdi’s massive Requiem in Orange, Ibn al-Muqaffa’ ‘s fable of the camel, jackal, wolf and crow, Sophocles’ blind Oedipus Rex and the Bible’s triumphant Psalm No. 150 in Aix.

Jette Parker Young Artists Summer Performance

The champagne corks popped at the close of this year’s Jette Parker Young Artists Summer Performance at the Royal Opera House, with Prince Orlofsky’s celebratory toast forming a fitting conclusion to some superb singing.

Prom 2: Boris Godunov, ROH

Bryn Terfel is making a habit of performing Russian patriarchs at the Proms.

Des Moines’ Gluck Sets the Standard

What happens when just everything about an operatic performance goes joyously right?

Des Moines: Jewels in Perfect Settings

Two years ago, the well-established Des Moines Metro Opera experimented with a 2nd Stages program, with performances programmed outside of their home stage at Simpson College.

First Night of the Proms 2016

What to make of the unannounced decision to open this concert with the Marseillaise? I am sure it was well intended, and perhaps should leave it at that.

La Cenerentola, Opera Holland Park

In a fairy-tale, it can sometimes feel as if one is living a dream but on the verge of being awoken to a shock. Such is life in these dark and uncertain days.

Il trionfo del tempo e del disinganno in Aix

The tense, three hour knock-down-drag-out seduction of Beauty by Pleasure consumed our souls in this triumphal evening. Forget Time and Disillusion as destructors, they were the very constructors of the beauty and pleasure found in this miniature oratorio.

Pelleas et Mélisande in Aix

Three parallel universes (before losing count) — the ephemeral Debussy/Maeterlinck masterpiece, the Debussy symphonic tone poem, and the twisted intricacies of a moldy, parochially English country estate.

Siegfried, Opera North

This, alas, was where I had to sign off. A weekend conference on Parsifal (including, on the Saturday, a showing of Hans-Jürgen Syberberg’s Parsifal film) mean that I missed Götterdämmerung, skipping straight to the sequel.

Götterdämmerung, Opera North

The culmination of Opera North’s “Ring for Everyone”, this Götterdämmerung showed the power of the condensed movement so necessary in a staged performance - each gesture of each character was perfectly judged - as well as the visceral power of having Wagner’s huge orchestra on stage as opposed to the pit.

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):