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 Reviews

Cold Mountain, Philadelphia

Opera Philadelphia deserves congratulations on yet another coup. The company co-commissioned Cold Mountain, an opera by Jennifer Higdon based on Gene Scheer’s adaptation of Charles Frazier’s celebrated Civil War epic.

Christian Gerhaher Wolfgang Rihm Wigmore Hall

For their first of two recitals at the Wigmore Hall, Christian Gerhaher and Gerold Huber devised an interesting programme - popular Schubert mixed with songs by Wolfgang Rihm and by Huber himself.

Götterdämmerung in Palermo

There are not many opera productions that you would cross oceans to see. Graham Vick’s Götterdämmerung in Sicily however compelled such a voyage.

Emmanuel Chabrier L’Étoile — Royal Opera House London

Premièred in 1877 at Offenbach’s own Théâtre des Bouffes Parisiens, Emmanuel Chabrier’s L’Étoile has a libretto, by Eugène Leterrier and Albert Vanloo, which stirs the blackly comic, the farcical and the bizarre into a surreal melange, blending contemporary satire with the frankly outlandish.

Robert Ashley’s Quicksand at the Kitchen

Robert Ashley’s opera-novel Quicksand makes for a novel experience

Premiere of Raskatov’s Green Mass

One of the leading Russian composers of his generation, Alexander Raskatov’s reputation in the UK and western Europe derives from several, recent large-scale compositions, such as his reconstruction of Alfred Schnittke’s Ninth Symphony from a barely legible manuscript (the work was first performed in 2007 in the Dresden Frauenkirche by the Dresden Philharmonic under Dennis Russell Davies), and his 2010 opera A Dog’s Heart, based on Mikhail Bulgakov’s satire (which was directed by Simon McBurney at English National Opera in 2010, following the opera’s premiere at Netherlands Opera earlier that year).

Orpheus in the Underworld, Opera Danube

I’m not sure that St John’s Smith Square was the most appropriate venue for Opera Danube’s latest production: Jacques Offenbach’s satirical frolic, Orpheus in the Underworld.

Lady Macbeth of Mtsensk in Lyon

This nasty little opera evening in Lyon lived up to the opera’s initial reputation as pure pornophony. This is the erotic Shostakovich of the D minor cello sonata, it is the sarcastic and complicated Shostakovich of The Nose . . .

Bel Canto: A World Premiere at Lyric Opera of Chicago

During December 2015 and presently in January Lyric Opera of Chicago has featured the world premiere of the opera Bel Canto, with music by Jimmy López and libretto by Nilo Cruz, based on the novel by Ann Patchett.

Tosca, Royal Opera

Christmas at the Royal Opera House is all about magic, mystery and miracles: as represented by the conjuror’s exploits in The Nutcracker — with its Kingdom of Sweets and Sugar Plum Fairy — or, as in the Linbury Theatre this year, the fantastical adventures of the Firework-Maker’s Daughter, Lila, and her companions — a lovesick elephant, swashbuckling pirates, tropical beasts and Fire-Fiends.

Lianna Haroutounian resplendent in Madama Butterfly at the Concertgebouw

The title role is a deciding factor in Madama Butterfly. Despite a last-minute conductor cancellation, last Saturday’s concert performance at the Concertgebouw was a resounding success, thanks to Lianna Haroutounian’s opulent, heart-stealing Cio-Cio-San.

Classical Opera: MOZART 250 — 1766: A Retrospective

With this performance of vocal and instrumental works composed by the 10-year-old Mozart and his contemporaries during 1766, Classical Opera entered the second year of their 27-year project, MOZART 250, which is designed to ‘contextualise the development and influences of [sic] the composer’s artistic personality’ and, more audaciously, to ‘follow the path that subsequently led to some of the greatest cornerstones of our civilisation’.

Benjamin Appl — Schubert, Wigmore Hall London

Luca Pisaroni and Wolfram Rieger were due to give the latest installment in the Wigmore Hall's complete Schubert songs series, but both had to cancel at short notice. Fortunately, the Wigmore Hall rises to such contingencies, and gave us Benjamin Appl and Jonathan Ware. Since there's a huge buzz about Appl, this was an opportunity to hear more of what he can do.

Ferrier Awards Winners’ Recital

The phrase ‘Sunday afternoon concert’ may suggest light, post-prandial entertainment, but soprano Gemma Lois Summerfield and her accompanist, Simon Lepper, swept away any such conceptions in this demanding programme at St. John’s Smith Square.

Pelléas et Mélisande at the Barbican

When, o when, will someone put Peter Sellars and his compendium of clichés out of our misery?

Samuel Barber: Choral Music

This recording, made in the Adrian Boult Hall at the Birmingham Conservatoire of Music in June 2014, is the fourth disc in SOMM’s series of recordings with Paul Spicer and the Birmingham Conservatoire Chamber Choir.

L'Arpeggiata: La dama d’Aragó, Wigmore Hall

Having recently followed some by-ways through the music of Purcell, Monteverdi and Cavalli, L’Arpeggiata turned the spotlight on traditional folk music in this characteristically vibrant and high-spirited performance at the Wigmore Hall.

Tippett : A Child of Our Time, London

Edward Gardner brought all his experience as a choral and opera conductor to bear in this stirring performance of Michael Tippett’s A Child of Our Time at the Barbican Hall, with a fine cast of soloists, the BBC Symphony Orchestra and BBC Symphony Chorus.

Taverner and Tavener, Fretwork, London

‘Apt for voices or viols’: eager to maximise sales among the domestic market in Elizabethan England, publishers emphasised that the music contained in collections such as Thomas Morley’s First Book of Madrigals to Four Voices of 1594 was suitable for performance by any combination of singers and players.

Fall of the House of Usher in San Francisco

It was a single title but a double bill and there was far more happening than Gordon Getty and Claude Debussy. Starting with Edgar Allen Poe.

OPERA TODAY ARCHIVES »

Reviews

10 Aug 2014

Berio Sinfonia, Shostakovich, BBC Proms

Although far from perfect, the performance of Berio’s Sinfonia in the first half of this concert was certainly its high-point; indeed, I rather wish that I had left at the interval, given the tedium induced by Shostakovich’s interminable Fourth Symphony. Still, such was the programme Semyon Bychkov had been intended to conduct. Alas, illness had forced him to withdraw, to be replaced at short notice by Vasily Petrenko.

Luciano Berio : Sinfonia, Dimitri Shostakovich : Symphony no 4. Vassily Petrenko, European Union Youth Orchestra, London Voices, BBC Prom 26, Royal Albert Hall, London 5th August 2014. A review by Mark Berry-

 

Petrenko did a reasonable job in Berio; however, I could not help but wonder how often he had conducted the work before. It was certainly a swift, driven reading, but that seemed to reflect a head more than usually stuck in the score (understandable, given the circumstances).The opening of the first movement was promising indeed: aethereal, its harmonies unmistakeably announcing an ‘Italian’ flavour - both Dallapiccola and Nono springing to mind - whatever the undoubted internationalism of Berio’s outlook. It is a great piece for the European Youth Orchestra, not only in terms of that ‘internationalism’ but also because, like Mahler (if only we could have had his music in the second half!) a large orchestra is employed, but sparingly, smaller ensembles drawn therefrom to wonderful, magical effect. It was a pity Petrenko drove so hard, but the movement recognisably remained itself.

The second movement came across almost as a ‘traditional’ slow movement, albeit again with sparing, almost soloistic use of the orchestra. An appropriately geological and river-like sense characterised the third movement. Mahler’s Second Symphony was the bedrock, of course, but I was also fascinated by the thoughts of memory and its tricks that the Rosenkavalier references provoked. If anything, Strauss and Hofmannsthal proved the more resonant on this occasion, though whether that was simply a matter of my frame of mind, or was in some sense owed to the performance, I am not sure. At any rate, the combination - and conflict - between the EUYO and London Voices made it seem, especially in the context of Petrenko’s once-again driven tempo, almost as though one were trapped within a human mind, and a witty one at that. Mathieu van Bellen offered an excellent violin solo. The typically varied vocal references included one to ‘Shostakovich’s Fourth Symphony’, concluding with a ‘Thank you, Mr Petrenko’. Amplification perhaps seemed a bit heavy in the fourth movement, though perhaps it was more a matter of the acoustic; nevertheless Berio’s imagination continued to shine through. I wondered whether the final movement might have smiled a little more - no such problem with the voices - but all was present and correct, and often rather more than that.

As for Shostakovich: well, his apologists hail this symphony as a masterpiece, but an opportunity to hear it had the rest of us wish it had remain ‘withdrawn’, not on account of any dangerous ‘modernism’ - Stalinist ‘socialist realism’ truly was insane! - but because it is such a dull, frankly un-symphonic work. For the most part, Petrenko and the EUYO did all they did to convince, although string playing sometimes went awry. The first movement opened with Lady Macbeth-style Grand Guignol, perhaps more interesting than anything that followed. Precision and attack were impressive: there was a chilling mechanistic quality to the performance, but alas, the work ensured that returns diminished, Shostakovich’s threadbare invention rendered all too apparent after a while. The second movement is at least shorter, but from the outset, one felt, as so often with this composer, that one had heard it all before, and it still seemed too long.

Oft-drawn comparisons with Mahler seemed as incomprehensible as ever. They made a little more sense in the final movement - so long as one bore in mind Boulez’s observation that Shostakovich offers at best a ‘second pressing’ in olive oil terms - but surely nothing justified the lack of variegation and indeed the sheer tedium of this piece. Petrenko and the orchestra rendered the movement’s Largo opening nicely creepy. Various woodwind took the opportunity to shine within the confines of generally unrelieved lugubriousness. There could, however, be no papering over the formal cracks. How I longed for a little invention: Haydn, Webern, Mahler, Berio, just about anyone! Is it not about time that we abandoned puerile Cold War attitudes and considered whether this music is actually any good, rather than merely sympathising with the autobiography of an alleged ‘dissident’?

Mark Berry

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):