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

Enchanting Tales at L A Opera

On March 24, 2017, Los Angeles Opera revived its co-production of Jacques Offenbach’s The Tales of Hoffmann which has also been seen at the Mariinsky Opera in Leningrad and the Washington National Opera in the District of Columbia.

Ermonela Jaho in a stunning Butterfly at Covent Garden

Ermonela Jaho is fast becoming a favourite of Covent Garden audiences, following her acclaimed appearances in the House as Mimì, Manon and Suor Angelica, and on the evidence of this terrific performance as Puccini’s Japanese ingénue, Cio-Cio-San, it’s easy to understand why. Taking the title role in the first of two casts for this fifth revival of Moshe Leiser’s and Patrice Caurier’s 2003 production of Madame Butterfly, Jaho was every inch the love-sick 15-year-old: innocent, fresh, vulnerable, her hope unfaltering, her heart unwavering.

Brave but flawed world premiere: Fortress Europe in Amsterdam

Calliope Tsoupaki’s latest opera, Fortress Europe, premiered as spring began taming the winter storms in the Mediterranean.

New Sussex Opera: A Village Romeo and Juliet

To celebrate its 40th anniversary New Sussex Opera has set itself the challenge of bringing together the six scenes - sometimes described as six discrete ‘tone poems’ - which form Delius’s A Village Romeo and Juliet into a coherent musico-dramatic narrative.

La voix humaine: Opera Holland Park at the Royal Albert Hall

Reflections on former visits to Opera Holland Park usually bring to mind late evening sunshine, peacocks, Japanese gardens, the occasional chilly gust in the pavilion and an overriding summer optimism, not to mention committed performances and strong musical and dramatic values.

London Handel Festival: Handel's Faramondo at the RCM

Written at a time when both his theatrical business and physical health were in a bad way, Handel’s Faramondo was premiered at the King’s Theatre in January 1738, fared badly and sank rapidly into obscurity where it languished until the late-twentieth century.

Brahms A German Requiem, Fabio Luisi, Barbican London

Fabio Luisi conducted the London Symphony Orchestra in Brahms A German Requiem op 45 and Schubert, Symphony no 8 in B minor D759 ("Unfinished").at the Barbican Hall, London.

Káťa Kabanová in its Seattle début

The atmosphere was a bit electric on February 25 for the opening night of Leoš Janàček’s 1921 domestic tragedy, and not entirely in a good way.

Festival Mémoires in Lyon

Each March France's splendid Opéra de Lyon mounts a cycle of operas that speak to a chosen theme. Just now the theme is Mémoires -- mythic productions of famed, now dead, late 20th century stage directors. These directors are Klaus Michael Grüber (1941-2008), Ruth Berghaus (1927-1996), and Heiner Müller (1929-1995).

Christoph Prégardien and Julius Drake at the Wigmore Hall

The latest instalment of Wigmore Hall’s ambitious two-year project, ‘Schubert: The Complete Songs’, was presented by German tenor Christoph Prégardien and pianist Julius Drake.

La Tragédie de Carmen at San Diego

On March 10, 2017, San Diego Opera presented an unusual version of Georges Bizet’s Carmen called La Tragédie de Carmen (The Tragedy of Carmen).

Kasper Holten's farewell production at the ROH: Die Meistersinger von Nürnberg

For his farewell production as director of opera at the Royal Opera House, Kasper Holten has chosen Wagner’s only ‘comedy’, Die Meistersinger von Nürnberg: an opera about the very medium in which it is written.

AZ Musicfest Presents Mendelssohn's Italian Symphony and Leoncavallo's Pagliacci

The dramatic strength that Stage Director Michael Scarola drew from his Pagliacci cast was absolutely amazing. He gave us a sizzling rendition of the libretto, pointing out every bit of foreshadowing built into the plot.

Premiere: Riders of the Purple Sage

On February 25, 2017, in Tucson and on the following March 3 in Phoenix, Arizona Opera presented its first world premiere, Craig Bohmler and Steven Mark Kohn’s Riders of the Purple Sage.

English Touring Opera Spring 2017: a disappointing Tosca

During the past few seasons, English Touring Opera has confirmed its triple-value: it takes opera to the parts of the UK that other companies frequently fail to reach; its inventive, often theme-based, programming and willingness to take risks shine a light on unfamiliar repertory which invariably offers unanticipated pleasures; the company provides a platform for young British singers who are easing their way into the ‘industry’, assuming a role that latterly ENO might have been expected to fulfil.

Matthias Goerne : Mahler Eisler Wigmore Hall

A song cycle within a song symphony - Matthias Goerne's intriuging approach to Mahler song, with Marcus Hinterhäuser, at the Wigmore Hall, London. Mahler's entire output can be described as one vast symphony, spanning an arc that stretches from his earliest songs to the sketches for what would have been his tenth symphony. Song was integral to Mahler's compositional process, germinating ideas that could be used even in symphonies which don't employ conventional singing.

A Merry Falstaff in San Diego

On February 21, 2017, San Diego Opera presented Giuseppe Verdi’s last composition, Falstaff, at the Civic Theater. Although this was the second performance in the run and the 21st was a Tuesday, there were no empty seats to be seen. General Director David Bennett assembled a stellar international cast that included baritone Roberto de Candia in the title role and mezzo-soprano Marianne Cornetti singing her first Mistress Quickly.

New Production of Mozart’s The Magic Flute at Lyric Opera, Chicago

In Neil Armfield’s new production of Die Zauberflöte at Lyric Opera of Chicago the work is performed as entertainment on a summer’s night staged by neighborhood children in a suburban setting. The action takes place in the backyard of a traditional house, talented performers collaborate with neighborhood denizens, and the concept of an onstage audience watching this play yields a fresh perspective on staging Mozart’s opera.

A Salome to Remember

Patricia Racette’s Salome is an impetuous teenage princess who interrupts the royal routine on a cloudy night by demanding to see her stepfather’s famous prisoner. Racette’s interpretation makes her Salome younger than the characters portrayed by many of her famous colleagues of the past. This princess plays mental games with Jochanaan and with Herod. Later, she plays a physical game with the gruesome, natural-looking head of the prophet.

L’Elisir d’Amore Goes On Despite Storm

On February 17, 2017 Pacific Opera Project performed Gaetano Donizetti’s L’elisir d’amore at the Ebell Club in Los Angeles. After that night, it can be said that neither snow, nor rain, nor heat, nor gloom of night can stay this company from putting on a fine show. Earlier in the day the Los Angeles area was deluged with heavy rain that dropped up to an inch of water per hour. That evening, because of a blown transformer, there was no electricity in the Ebell Club area.

OPERA TODAY ARCHIVES »

Performances

The Hilliard Ensemble [Photo by Marco Borggreve]
22 Dec 2014

The Hilliard Ensemble: Farewell Concert at Wigmore Hall

Forty-one years is a long time for any partnership to be sustained and to flourish — be it musical, commercial or marital! And, given The Hilliard Ensemble’s ongoing reputation as one of the world’s finest a cappella groups, noted for their performances of works dating from the 11 th century to the present day, it must have been a tough decision to call an end to more than four decades of superlative music-making.

The Hilliard Ensemble: Farewell Concert at Wigmore Hall

Above: The Hilliard Ensemble [Photo by Marco Borggreve]

A review by Claire Seymour

 

While countertenor David James is the sole survivor from the original four-man line-up, the current quartet of James, tenors Rogers Covey-Crump and Steven Harrold, and baritone Gordon Jones have been singing together since 1998, and this Farewell Concert at the Wigmore Hall — an occasion for both poignancy and celebration — confirmed that they are bowing out while still at the top.

Performing music from Pérotin to Pärt, from anonymous medieval carols to Roger Marsh’s 2013 Poor Yorick, the Hilliards gave a masterclass in musical and textual precision; not for nothing are they named after the Elizabethan miniaturist, Nicholas Hilliard, whose attention to pictorial detail they have ever aimed to replicate in musical contexts. But, more remarkable even than the accuracy and clarity — every word perfectly enunciated — was the innate, shared musicality of the four singers; the rises and falls, ebbs and flows were instinctively felt and mesmerising in their assured simplicity and directness. It is this ‘oneness’ that produces such pure, entrancing vocal beauty.

In a recent Guardian article, Gordon Jones remarked that the programme for the group’s Farewell Concert was ‘a bit unstructured — that’s unusual for us. But taken together it represents much that has been important to us, and to the people who have been close to us and who will be in the audience. We were also keen to include a few pieces written for us by composers who will also be in attendance’. The programme may have been eclectic but during this valedictory evening it was the Hilliards’ ability to reveal the modernity of Pérotin’s plainsong, with its complex rhythms and striking dissonances, and to make music from the twenty-first century speak with the sincerity and openness of Gregorian chant which underlined the ensemble’s range and accomplishment.

We began, fittingly, with the first-known notated composition for four voices, Pérotin’sViderunt Omnes, a Christmas gradual: the lowest voice — the cantus firmus — presents that original plainchant in extremely long notes, while the other voices blossom in elaborate melismatic polyphony.A remarkably poised balance was achieved between the elongated syllables of the bass and the complex decorative counterpoint above; and there was a wonderful clarity with each resolution of the increasing dissonance before the change from one syllable of the text to the next, creating a sense of spiritual affirmation. Indeed, the short text announces that God has arrived in ‘All the ends of the world’ and the Lord has ‘declared his salvation’, and there was a spirit of exultation in the buoyant rhythms and driving imitative points. Interestingly, the clashing overtones foreshadowed the ‘tintinnabulation’ of Arvo Pärt, heard later in the evening.

The Hilliards have commissioned many new compositions, adding greatly to the richness of the repertoire for four high male voices. During a 1995 residency at the summer school which they established, Piers Hellawell offered the group settings of passages from Nicholas Hilliard’s The Art of Limning, published in 1570, which explore the expressive nature of colour. The text of ‘True beautie’ strives to capture the power of colour to make objects appear transparent, a power evoked by the Hilliards’ ravishing tone; the scrupulously rendered interweaving melodies of ‘Saphire’ were a musical match for the power of the painter, a ‘cunning artificer’, who ‘helpeth nature and addeth beauty’.

In contrast to such intricacy, the music of Arvo Pärt offered simple artlessness. Pärt’s And One of the Pharisees, a setting of a long-text from the gospel of Luke for baritone, tenor and countertenor, contrasted homophonic, monosyllabic chanting recounting the parable of Christ’s forgiveness of a sinful woman with the freer solo-voice direct speech of Christ and the Pharisee.Most Holy Mother of God, for 4 voices, composed for the group in 2003, their thirtieth year, is a repetitive plea to the Blessed Virgin to ‘save us’. In both works, the Hilliards captured the intense liturgical candour of Pärt’s minimalist idiom, while in the Most Holy Mother they use the tensions in the syncopated opening motif to create energy and momentum within the meditative medium.

In December 2013, celebrating their 40th anniversary, the ensemble premiered Roger Marsh’s Poor Yorick, a setting of the description of the death of Yorick from Laurence Sterne’s Tristram Shandy. Here they presented the long central section of the three-part work, ‘Death of Yorick’, Rogers Covey-Crump singing affectingly as the dying Yorick while Gordon Jones assumed the role of Eugenius, whose tearful addresses to his dying friend at times took a wry turn, as with the consolation, ‘I declare I know not, Yorick, how to part with thee, and would gladly flatter my hopes … that there is still enough left of thee to make a bishop, and that I may live to see it’. The Hilliards enjoyed the humour and the theatricality of the work, expressed through Marsh’s rich harmonies.

But, it was in the earlier repertoire that the singers excelled, elevating seemingly simple compositions such as‘There is no rose’, ‘Lullay, lullow’ and ‘Ecce quod natura’ — anonymous carols for two and three voices — to high musical stature. Most striking of all was the eloquence of ‘Ah, gentle Jesu’ by Sheryngham, a composer about whose life and work nothing is known. A candid dialogue between the crucified Christ (two low voices) and a remorseful sinner (two high voices), this work was beautifully soft and warm.

The Farewell concluded with ‘Excursion into the Mountains’ from the austere music drama I went to the house but did not enter by Heiner Goebbels, a mediation on the passing of life which was commissioned by the Hilliards and first performed in 2008. ‘Excursion in the Mountains’ presents a complete short story by Kafka in which a writer reflects on the negatives and absences in his life, desiring the freedom of the mountains where ‘throats become free!’ The spirited music ironically contrasts with the quizzical text, and the work ended, appropriately, with the jovial exclamation: ‘It’s a wonder that we don’t burst into song.’

Jones, in the afore-mentioned interview, remarked prior to the event, ‘As we approach the final performance I’ve really no idea how we will feel on the night. We’ve sung more than 100 concerts around the world this year, and throughout, we’ve resisted as strongly as we could calling it a “farewell tour”. That would have seemed so maudlin and mawkish … I just hope we can get through everything — some of the pieces are quite tricky — especially if it turns out to be a bit of a Kleenex evening.’

In fact, this was not an evening for tears, just gladness and joy that we have had the opportunity to experience such wonderful music-making, a mood perfectly captured by the single encore which tenderly slipped away into the silence, the Scottish song, ‘Remember Me My Dear’.

Claire Seymour


Performers and programme:

The Hilliard Ensemble: David James countertenor, Rogers Covey-Crump tenor, Steven Harrold tenor, Gordon Jones baritone. Wigmore Hall, London, Saturday 20 th December 2014.

Pérotin — Viderunt omnes; Piers Hellawell — ‘True beautie’, ‘Saphire’; Arvo Pärt — And One of the Pharisees; Roger Marsh — ‘Death of Yorick’; Sheryngham — ‘Ah, gentle Jesu’; Arvo Pärt — Most Holy Mother of God; Anonymous — ‘There is no rose’, ‘Marvel not Joseph’, ‘Lullay, lullow’; 15th-century English carol — ‘Ecce quod natura’; Heiner Goebbels, ‘Excursion in the Mountains’.

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):