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

A Donizetti world premiere: Opera Rara at the Royal Opera House

There may be sixty or so operas by Donizetti to choose from, but if you’ve put together the remnants of another one, why not give everyone a chance to hear it? And so, Opera Rara brought L’Ange de Nisida to the concert stage last night, 180 years after it was composed for the Théâtre de la Renaissance in Paris, conductor Sir Mark Elder leading a team of bel canto soloists and the Choir and Orchestra of the Royal Opera House in a committed and at times stirring performance.

A stellar Ariadne auf Naxos at Investec Opera Holland Park

Strauss’s Ariadne auf Naxos is a strange operatic beast. Originally a Molière-Hofmannsthal-Strauss hybrid, the 1916 version presented in Vienna ditched Le bourgeois gentilhomme, which had preceded an operatic telling of the Greek myth of Ariadne and Theseus, and replaced it with a Prologue in which buffa met seria as competing factions prepared to present an entertainment for ‘the richest man in Vienna’. He’s a man who has ordered two entertainments, to follow an epicurean feast, and he wants these dramatic digestifs served simultaneously.

PROM 5: Debussy’s Pelléas et Mélisande

Stefan Herheim’s production of Debussy’s magnificent 1902 opera for Glyndebourne has not been universally acclaimed. The Royal Albert Hall brought with it, in this semi-staged production, a different set of problems - and even imitated some of the production’s original ones, notably the vast shadow of the organ which somewhat replicates Glyndebourne’s 1920’s Organ Room, and by a huge stretch of the imagination the forest in which so much of the opera’s action is set.

Thought-Provoking Concert in Honor of Bastille Day

Sopranos Elise Brancheau and Shannon Jones, along with pianists Martin Néron and Keith Chambers, presented a thrilling evening of French-themed music in an evening entitled: “Salut à la France,” at the South Oxford Space in Brooklyn this past Saturday, July 14th.

Dido in Deptford: Blackheath Halls Community Opera

Polly Graham’s vision of Dido and Aeneas is earthy, vigorous and gritty. The artistic director of Longborough Festival Opera has overseen a production which brings together professional soloists, students from Trinity Laban Conservatoire of Music and Dance, and a cast of more than 80 south-east London adults and children for this, the 12th, annual Blackheath Halls Community Opera.

Summer madness and madcap high jinxs from the Jette Parker Young Artists

The operatic extracts which comprised this year’s Jette Parker Young Artists Summer Performance seemed to be joined by a connecting thread - madness: whether that was the mischievousness of Zerbinetta’s comedy troupe, the insanity of Tom Rakewell, the metaphysical distress of Hamlet, or the mayhem prompted by Isabella’s arrival at Mustafà’s Ottoman palace, the ‘insanity’ was equally compelling.

Mefistofele at Orange’s Chorégies

This is the one where a very personable devil tells God that mankind is so far gone it isn’t worth his time to bother corrupting it further.

Mascagni's Isabeau rides again at Investec Opera Holland Park

There seemed to me to be something distinctly Chaucerian about Martin Lloyd-Evans’ new production of Mascagni’s Isabeau (the first UK production of the opera) for Investec Opera Holland Park.

The 2018 BBC Proms opens in flamboyant fashion

Anniversaries and commemorations will, as usual, feature significantly during the 2018 BBC Proms, with the works of Leonard Bernstein, Claude Debussy and Lili Boulanger all prominently programmed during the season’s myriad orchestral, vocal and chamber concerts.

Banff’s Hell of an Orphée+

Against the Grain Theatre brought its award winning adaptation of Gluck’s opera to the Banff Festival billed as “an electronic baroque burlesque descent into hell.”

A Choral Trilogy at the Aix Festival

What Seven Stones (the amazing accentus / axe 21), and Dido and Aeneas (the splendid Ensemble Pygmalion) and Orfeo & Majnun (the ensemble [too many to count] of eleven local amateur choruses) share, and virtually nothing else, is spectacular use of chorus.

Vintage Audi — Parsifal, Kaufmann, Pape

From the Bayerisches Staatsoper Munich, Wagner Parsifal with a dream cast - René Pape, Jonas Kaufmann and Nina Stemme, Christian Gerhaher and Wolfgang Koch, conducted by Kirill Petrenko, directed by Pierre Audi. The production is vintage Audi - stylized, austere, but solidly thought-through.

Flight Soars High in Des Moines

Jonathan Dove’s innovative opera Flight is being lavished with an absolutely riveting new production at Des Moines Metro Opera’s resoundingly successful 2018 Festival.

Fledermaus Pops the Cork in Iowa

Like a fizzy bottle of champagne, Des Moines Metro Opera uncorked a zesty tasting of Johan Strauss’s vintage Die Fledermaus (The Bat).

A spritely summer revival of Falstaff at the ROH

Robert Carson’s 2012 ROH Falstaff is a bit of a hotchpotch, but delightful nevertheless. The panelled oak, exuding Elizabethan ambience, of the first Act’s gravy-stained country club reeks of the Wodehouse-ian 1930s, but has also has to serve as the final Act’s grubby stable and the Forest of Windsor, while the central Act is firmly situated in the domestic perfection of Alice Ford’s 1950s kitchen.

Down on the Farm with Des Moines’ Copland

Ingenious Des Moines Metro Opera continued its string of site-specific hits with an endearing production of Aaron Copland’s The Tender Land on the grounds of the Maytag Dairy farm.

Des Moines’ Ravishing Rusalka

Let me get right to the point: This is the Rusalka I have been waiting for all my life.

L'Ange de feu (The Fiery Angel)
in Aix

Prokofiev’s Fiery Angel is rarely performed. This new Aix Festival production to be shared with Warsaw’s Teatr Wielki exemplifies why.

Ariane à Naxos (Ariadne auf Naxos) in Aix

Yes, of course British stage director Katie Mitchell served up Richard Strauss’ uber tragic Ariadne on Naxos at a dinner table. Over the past few years Mme. Mitchell has staged quite a few household tragedies at the Aix Festival, mostly at dinner tables, though some on doorsteps.

The Skating Rink: Garsington Opera premiere

Having premiered Roxanna Panufnik’s opera Silver Birch in 2017 as part of its work with local community groups, Garsington Opera’s 2018 season included its first commission for the main opera season. David Sawer's The Skating Rink premiered at Garsington Opera this week; the opera is based on the novel by Chilean writer Roberto Bolano with a libretto by playwright Rory Mullarkey.

OPERA TODAY ARCHIVES »

Performances

Gustav Mahler
19 Sep 2014

Mahler: Symphony no.3 — Prom 73

It would be unfair, but one could summarise this concert with the words, ‘Senator, you’re no Leonard Bernstein.’

Mahler: Symphony no.3 — Prom 73

A review by Mark Berry

Above: Gustav Mahler

 

Unfair, because it would ignore the excellence of the playing and singing from the combined forces of Gerhild Romberger, the Leipzig Gewandhaus Children’s Choir, the ladies of both the Leipzig Gewandhaus Choir and the Leipzig Opera Chorus, and the Leipzig Gewandhaus Orchestra; but not because it would seriously misrepresent my impressions of Alan Gilbert’s conducting, nor indeed of his remarks in a programme interview. Mahler withstands, indeed rejoices in, a good number of interpretative options, and one should always be one’s guard, lest one reject, Beckmesser-like, something new, simply because it is something new. However, that does not mean that anything goes. The Achilles heel of Gilbert’s performance throughout was his lack of structural understanding, or at least his inability to communicate such understanding in performance. He seemed, indeed, to have taken Bernstein at his word — as opposed to following Bernstein’s excellent practice as a conductor — in the claim cited in that interview: ‘I heard Leonard Bernstein … rehearsing it once and he said: “You know what? Finally, after all these years, I’ve found the answer to this piece. It’s like a nightmare of marches. You shouldn’t try to connect them but just live in the moment.’ Perhaps you can do that once you have internalised the piece sufficiently, but, lack of score notwithstanding, Gilbert’s understanding seemed only superficial. As for his bizarre claim in that interview that there was no Viennese tradition of performing Mahler prior to Bernstein…

The first movement, then, sounded rather like Gilbert heard Bernstein described it, save for the fact that it was not very nightmarish. The Gewandhaus Orchestra played with greatly impressive attack, but seemed encouraged to sound brasher than usual, almost as if it were being asked to ape Gilbert’s — or Bernstein’s — New York Philharmonic. What was entirely lacking here was the formal inevitability — form should be understood in dynamic, not static, terms — one hears or has heard from conductors as different asAbbado, Boulez, Haitink, Horenstein, or indeed Bernstein. (I could have done without the Big Bird-style conducting gestures too; at one stage, I thought Gilbert was about to launch into flight. O for the elegance, the economy of the first three named of alternative conductors!) At least there was, for much of the movement, a strong sense of rhythm, even if its connection with harmony appeared to elude the conductor. That dissipated, however, with some unconvincing rubato and tempo changes later on, signalling instability in very much the wrong sense. Doubtless this will all be lauded as ‘exciting’ in some quarters, but without structural command, the excellence of the orchestral playing could not make a symphony out of what sounded more akin to a very lengthy suite. The rush to the finish, however, well executed by the players, was straightforwardly vulgar — as opposed to harnessing apparent vulgarity to higher ends.

The second movement strayed closer still to Simon Rattle territory (or rather recent Rattle territory). Necessary lilt soon became unduly moulded, variations in tempo excessive. Some material was taken very fast indeed, to the extent that it sounded almost balletic. Mahler as Delibes? A point of view, I suppose, but that is the best that can be said. The third movement veered weirdly between such ‘balletic’ tendencies and imitation Bernstein ‘house of horrors’, which would have been better left for the Seventh Symphony. The problem, really, was that they arose from nowhere, and that the whole movement was more than a little rushed. At least the post-horn solos were played beautifully — as indeed was everything else.

Gerhild Romberger gave an excellent rendition of ‘O Mensch!’ though she sounded very much a mezzo rather than a contralto. Hers was nevertheless a performance of compelling honesty, in which words and music amounted to considerably more than the sum of their parts. Gilbert’s conception, though restrained, I think, in the light of the soloist’s presence, seemed unduly ‘operatic’, missing the essential simplicity, however artful in reality, of this song. The fifth movement opened with as much coughing and shuffling as singing but, once that audience contribution was out of the way, the excellence of singing and playing alike could register. (That said, Romberger’s diction was noticeably less good here.) It was taken quickly, but at least it was not unduly pulled around.

Finally, the great Adagio — well, strictly speaking, Langsam — which came off surprisingly well. At least some of the time, it appeared to speak ‘for itself’. The Leipzig strings were wonderfully warm in tone, with the necessary depth to let Mahler’s harmony tell. Although it was not always as rhythmically solid as it might have been, the performance was a definite improvement upon most of what had gone before. And the sound of this great orchestra remained a wonder in itself.

Mark Berry


Gerhild Romberger (mezzo-soprano); Leipzig Gewandhaus Children’s Choir (chorus master: Frank-Steffen Elster); Ladies of the Leipzig Gewandhaus Choir (chorus master: Gregor Meyer); Ladies of the Leipzig Opera Chorus (chorus master: Alessandro Zuppardo); Leipzig Gewandhaus Orchestra/Alan Gilbert (conductor). Royal Albert Hall, London, Thursday 11 September 2014.

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):