Recently in Reviews

ETO Autumn 2020 Season Announcement: Lyric Solitude

English Touring Opera are delighted to announce a season of lyric monodramas to tour nationally from October to December. The season features music for solo singer and piano by Argento, Britten, Tippett and Shostakovich with a bold and inventive approach to making opera during social distancing.

Love, always: Chanticleer, Live from London … via San Francisco

This tenth of ten Live from London concerts was in fact a recorded live performance from California. It was no less enjoyable for that, and it was also uplifting to learn that this wasn’t in fact the ‘last’ LfL event that we will be able to enjoy, courtesy of VOCES8 and their fellow vocal ensembles (more below …).

Dreams and delusions from Ian Bostridge and Imogen Cooper at Wigmore Hall

Ever since Wigmore Hall announced their superb series of autumn concerts, all streamed live and available free of charge, I’d been looking forward to this song recital by Ian Bostridge and Imogen Cooper.

Henry Purcell, Royal Welcome Songs for King Charles II Vol. III: The Sixteen/Harry Christophers

The Sixteen continues its exploration of Henry Purcell’s Welcome Songs for Charles II. As with Robert King’s pioneering Purcell series begun over thirty years ago for Hyperion, Harry Christophers is recording two Welcome Songs per disc.

Treasures of the English Renaissance: Stile Antico, Live from London

Although Stile Antico’s programme article for their Live from London recital introduced their selection from the many treasures of the English Renaissance in the context of the theological debates and upheavals of the Tudor and Elizabethan years, their performance was more evocative of private chamber music than of public liturgy.

Anima Rara: Ermonela Jaho

In February this year, Albanian soprano Ermonela Jaho made a highly lauded debut recital at Wigmore Hall - a concert which both celebrated Opera Rara’s 50th anniversary and honoured the career of the Italian soprano Rosina Storchio (1872-1945), the star of verismo who created the title roles in Leoncavallo’s La bohème and Zazà, Mascagni’s Lodoletta and Puccini’s Madama Butterfly.

A wonderful Wigmore Hall debut by Elizabeth Llewellyn

Evidently, face masks don’t stifle appreciative “Bravo!”s. And, reducing audience numbers doesn’t lower the volume of such acclamations. For, the audience at Wigmore Hall gave soprano Elizabeth Llewellyn and pianist Simon Lepper a greatly deserved warm reception and hearty response following this lunchtime recital of late-Romantic song.

Requiem pour les temps futurs: An AI requiem for a post-modern society

Collapsology. Or, perhaps we should use the French word ‘Collapsologie’ because this is a transdisciplinary idea pretty much advocated by a series of French theorists - and apparently, mostly French theorists. It in essence focuses on the imminent collapse of modern society and all its layers - a series of escalating crises on a global scale: environmental, economic, geopolitical, governmental; the list is extensive.

The Sixteen: Music for Reflection, live from Kings Place

For this week’s Live from London vocal recital we moved from the home of VOCES8, St Anne and St Agnes in the City of London, to Kings Place, where The Sixteen - who have been associate artists at the venue for some time - presented a programme of music and words bound together by the theme of ‘reflection’.

Iestyn Davies and Elizabeth Kenny explore Dowland's directness and darkness at Hatfield House

'Such is your divine Disposation that both you excellently understand, and royally entertaine the Exercise of Musicke.’

Ádám Fischer’s 1991 MahlerFest Kassel ‘Resurrection’ issued for the first time

Amongst an avalanche of new Mahler recordings appearing at the moment (Das Lied von der Erde seems to be the most favoured, with three) this 1991 Mahler Second from the 2nd Kassel MahlerFest is one of the more interesting releases.

Paradise Lost: Tête-à-Tête 2020

‘And there was war in heaven: Michael and his angels fought against the dragon; and the dragon fought and his angels, And prevailed not; neither was their place found any more in heaven … that old serpent … Satan, which deceiveth the whole world: he was cast out into the earth, and his angels were cast out with him.’

Max Lorenz: Tristan und Isolde, Hamburg 1949

If there is one myth, it seems believed by some people today, that probably needs shattering it is that post-war recordings or performances of Wagner operas were always of exceptional quality. This 1949 Hamburg Tristan und Isolde is one of those recordings - though quite who is to blame for its many problems takes quite some unearthing.

Joyce DiDonato: Met Stars Live in Concert

There was never any doubt that the fifth of the twelve Met Stars Live in Concert broadcasts was going to be a palpably intense and vivid event, as well as a musically stunning and theatrically enervating experience.

‘Where All Roses Go’: Apollo5, Live from London

‘Love’ was the theme for this Live from London performance by Apollo5. Given the complexity and diversity of that human emotion, and Apollo5’s reputation for versatility and diverse repertoire, ranging from Renaissance choral music to jazz, from contemporary classical works to popular song, it was no surprise that their programme spanned 500 years and several musical styles.

The Academy of St Martin in the Fields 're-connect'

The Academy of St Martin in the Fields have titled their autumn series of eight concerts - which are taking place at 5pm and 7.30pm on two Saturdays each month at their home venue in Trafalgar Square, and being filmed for streaming the following Thursday - ‘re:connect’.

Lucy Crowe and Allan Clayton join Sir Simon Rattle and the LSO at St Luke's

The London Symphony Orchestra opened their Autumn 2020 season with a homage to Oliver Knussen, who died at the age of 66 in July 2018. The programme traced a national musical lineage through the twentieth century, from Britten to Knussen, on to Mark-Anthony Turnage, and entwining the LSO and Rattle too.

Choral Dances: VOCES8, Live from London

With the Live from London digital vocal festival entering the second half of the series, the festival’s host, VOCES8, returned to their home at St Annes and St Agnes in the City of London to present a sequence of ‘Choral Dances’ - vocal music inspired by dance, embracing diverse genres from the Renaissance madrigal to swing jazz.

Royal Opera House Gala Concert

Just a few unison string wriggles from the opening of Mozart’s overture to Le nozze di Figaro are enough to make any opera-lover perch on the edge of their seat, in excited anticipation of the drama in music to come, so there could be no other curtain-raiser for this Gala Concert at the Royal Opera House, the latest instalment from ‘their House’ to ‘our houses’.

Fading: The Gesualdo Six at Live from London

"Before the ending of the day, creator of all things, we pray that, with your accustomed mercy, you may watch over us."

OPERA TODAY ARCHIVES »

Reviews

05 Oct 2014

Puccini : The Girl of the Golden West, ENO London

At the ENO, Puccini's La fanciulla del West becomes The Girl of the Golden West. Hearing this opera in English instead of Italian has its advantages, While we can still hear the exotic, Italianate Madama Butterfly fantasies in the orchestra, in English, we're closer to the original pot-boiler melodrama. Madama Biutterfly is premier cru: The Girl of the Golden West veers closer, at times, to hokum. The new ENO production gets round the implausibility of the plot by engaging with its natural innocence.

Giacomo Puccini : The Girl of the Golden West, English National Opera, London, 2nd October 2014

A review by Anne Ozorio

 

Bright lights greet curtain up, startling the audience. More fun to come as the music evolves. In The Girl of the Golden West we're enjoying Arcadia in Wild West costume, the stuff of childhood dreams and simple homilies. The men at the Polka love Minnie for her good nature and rough edges, but they turn savage without much provocation. So much for her teaching the Bible. Perhaps there's a reason why Ramerrez (not Ramirez) is a Mexican. As soon as Minnie reappears the would-be killers turn back into lambs. Where will Minnie and Ramerrez go when they leave California? Both are now displaced from a place where they belonged. But let's not bother ourselves with too much detail. Richard Jones's production, with designs by Miriam Buether, presents the opera as plain good fun, rather like Minnie herself, not in the least bit sophisticated but with her heart in the right place. As usual, Jones takes his cue from the music. In this opera, Puccini employs special effects, like wind machines and "gunshots" in the percussion, There are many good moments in the music, like 'Ch’ella Mì Creda Libero', Ramerrez's big 'Un bel Di' moment. But in general, this music works well as pure, uncomplicated fun. Not for nothing I've been calling the opera has been called the first Spaghetti Western for the last 40 years, when such westerns were all the rage,..

Casting Susan Bullock as Minnie is a stroke of inspiration. Bullock is a Wagnerian, so she has the timbre of a Brünnhilde charging into action to protect the wronged. Puccini doesn't give Minnie long heroic passages to develop her personality, since after all, she's plainfolks, who falls for Mr Johnson because he treats her like a lady. So Bullock's innate sense of style does for Minnie what fancy clothes and tight shoes can't do. Bullock's words ring out with desperate heroism. Minnie has seen an alternative to the life she leads. Like Senta, she's prepared to risk all for her man. Bullock's portrayal adds wonders, bringing out humorous levels in this opera that might get missed in too prosaic a reading. The effect would be heightened even more if she sang with her normal English accent, but English audiences, much given to literal fake accents, probably wouldn't understand why. Bullock's natural good nature warms Minnie's personality and creates a convincing character.

Peter Auty sings Ramerrez/Mr Johnson. The fit is good. Auty's experience adds authority and depth. In the second act, Minnie tries, ineptly, to seduce Mr Johnson, Auty shows how Ramerrez's nobler instincts motivate his actions. Auty's resolve suggests why Minnie is drawn to the stranger, so different from the rabble around her. Again, this isn't obvious in the libretto but a sign of sensitive directoral interpretation. Richard Jones's staging is far more perceptive than meets the eye, but probably too subtle for some.

Craig Colclough sings Jack Rance. His voice is technically secure, but the portrayal is relatively straightforward, allowing greater definition to Minnie and Mr Johnson/Ramerrez. It was good to hear Graham Clark again, albeit in the fairly small part of the bartender. Clark is a national insititution, and a long-term stalwart of the ENO. His very presence makes a statement.

The cast included Nicholas Masters, Leigh Melrose, Adrian Dwyer, Jonathan McGovern, Richard Roberts, Sam Furness, Alexander Robin Baker, Nicholas Crawley, Jimmy Holliday, Clare Presland, George Humphreys, Trevor Eliot Bowes, and Daniel Mullaney. Good singing, good chorus: proof that the ENO nurtures talent in a way no micro mini company ever could. The conductor was Keri-Lynn Wilson, making her ENO debut.

Anne Ozorio

Giacomo Puccini : The Girl of the Golden West, ENO London 2nd October 2014
Librettist Guelfo Civinini and Carlo Zangarini after David Belasco

Conductor Keri-Lynn Wilson, Director Richard Jones, Set Designer Miriam Buether,
Costume Designer Nicky Gillibrand, Lighting Designer Mimi Jordan Sherin, Choreographer Lucy Burge, Translator Kelley Rourke

Minnie Susan Bullock, Jack Rance Craig Colclough, Dick Johnson Peter Auty,
Nick Graham Clark / Richard Roberts, Sonora Leigh Melrose, Larkens Nicholas Crawley, Trin Adrian Dwyer, Sid Jonathan McGovern, Handsome Charles Rice,
Harry Richard Roberts / Philip Sheffield, Joe Sam Furness, Happy Alexander Robin Baker, Ashby Nicholas Masters, Jake Wallace George Humphreys, Wowkle Clare Presland

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):