Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



Plumbago_9780993198359_1.png

9780521746472.png

0810888688.gif

0810882728.gif

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

Michael Tippett [Source: Naxos]
22 Dec 2015

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.

Tippett : A Child of Our Time, London

A review by Claire Seymour

Above: Michael Tippett [Source: Naxos]

 

The circumstances which led to the composition of this oratorio, which received its first performance in 1944 are well-known: in 1938, 17-year-old Polish Jew Herschel Grynspan, who was being illegally sheltered in Paris by his uncle and aunt, was provoked by the frustration of his attempts to gain official papers and by the persecution of his mother, and shot Ernst von Rath, a German diplomat. The act prompted what has been described as one of the ‘most severe and terrible of the official pogroms in Germany’. Grynspan was imprisoned by the French authorities; after the fall of France he was handed over to the Nazis, and disappeared.

The oratorio may have had its origins in specific events, but Tippett was concerned with their universal significance - the evidence they provide of man’s inhumanity to man - and seventy years later, Tippett’s ‘impassioned protest against the conditions that make persecution possible’ seems just as relevant and necessary.

Gardner made the divisions between the work’s three sections clear: the Parts presents the experience of those individuals whose lives take them beyond the conventions of their rulers, then follows the personal drama of the ‘Child of Our Time’, and the work concludes with an exploration of the significance and potential healing effect of these events for all mankind. In this way Gardner created a structure in which the framing reflections had a dynamic relationship with the drama they embraced. The orchestral sound was prevailingly sombre, though through the darkness there were glimmers of light.

The oratorio’s musical and emotional contrasts, twists and turns were emphasised. Even in the opening bars, an almost Elgarian warmth was immediately quelled by a wonderful diminuendo: ‘It is winter’, we are told, and the world ‘turns on its dark side’, as the music shifts alarming between diatonicism and chromaticism.

Soloists, chorus and orchestra - the latter both as massed ensemble and as solo instrumentalists - were equally involved, and intertwined, in the unfolding arguments. Alice Coote’s opening statements in Part 1 were immediately engaging, though the part lay quite low for her, and she enunciated Tippett’s text dramatically; while in the ensuing instrumental interlude, the flute and solo viola offered pertinent reflections on, and energised debates with, Tippett’s words: ‘Truly, the living God consumes within and turns the flesh to cancer!’ In Part 2 the cellos’ imitative counterpoint emphasised the almost hysterical desperation of the mother who cries, ‘What have I done to you, my son? What will become of us now?’ Horns, brass and timpani added chilling power to the choral opening of Part Three: ‘The cold deepens. The world descends into the icy waters.’

Much of the impact of the work derived from the precision and vigour of the singing of the BBC Symphony Chorus. The choruses possessed a rousing contrapuntal vitality: the imitative drama of the ‘Chorus of the Oppressed’ recalled the rigorous polyphony of the Fantasia Concertante on a Theme of Corelli and the Concerto for Double String Orchestra, and the BBC Symphony Chorus encompassed a huge dynamic range, from whispered pianissimos to thrilling fortissimos. In ‘The Terror’ in Part 2, ‘Burn down their houses’ was sung with a rhythmic dynamism evoking the choruses from Britten’s Peter Grimes.

Of course, it is the Negro spirituals which Tippett included at pivotal points in each Part which most powerfully swell with emotion. The first, ‘Steal away’, was ardent and free; the lithe accents of the second, ‘Nobody knows’ were enhanced by quiet, buoyant playing by the cellos. The progression in Part 3 from Coote’s arioso, ‘The soul of man is impassioned like a woman’, through to the ecstatic greeting, ‘It is spring’, which precedes the final spiritual, ‘Deep river, my home is over Jordan’, was superbly controlled and emotionally compelling. ‘Deep river’ itself had both urgency and splendour. Tippett explained that he chose the spiritual form to serve as a substitute for ‘the special Protestant constituent of the congregational hymn’. But, Gardner couldn’t quite overcome the fact that the spirituals are not truly integrated into the oratorio. Stylistically, and in terms of the gap between the collective expression that they embody and more individual expression elsewhere in the oratorio, the division is perhaps too wide for the overall form to ever fully cohere. But, these soulful outpourings still made an absorbing and animating impact.

Soprano Sarah Tynan used her penetrating and crystalline voice as a persuasive dramatic and expressive instrument: the range of colours she found for the repetition of the word ‘How’ in her first contribution to Part 1, ‘How can I cherish my man in such days, or become a mother in a world of destruction’, seemed to embody the very irresolvability of the question. Tynan spun a wonderful pianissimo which then soared and bloomed entrancingly about the choral injunctions to ‘Steal away to Jesus’; in her Act 2 duet Scena with tenor Robert Murray, ‘On my son! In the dread terror they have brought me near to death’ the soprano’s rich timbre was replete with emotion. Murray sang with dignity and elegance.

The rhythmic poise of his calypso-like ‘I have no money for my bread’ was striking, set against the strong rhythmic definition of the orchestra. In ‘Go down, Moses’, as the voice of ‘Boy’, the lyricism of Murray’s phrase, ‘My dreams are all shattered in a ghastly reality’, served to push home the horror.

Brindley Sherratt narrated Parts 1 and 2 with the clarity of the Narrator from a Bach Pasion. If sometimes his bass was a little taxed by the most high-lying phrases, there was an ominous weight in the deepest and darkest of his utterances, such as ‘Men were ashamed of what was done. There was bitterness and horror’,which precedes Act 2’s Spiritual of Anger. In Part 3, Sherratt’s tone became ever more focused, his bass a true oracle: ‘The words of wisdom are these: Winter cold means inner warmth, the secret of the nursery of the seed.’ Gardner and his massed forces powerfully fused the dramatic with the contemplative; the results were both troubling and consoling.

The concert began with Oliver Knussen’s The Way to Castle Yonder, a ‘potpourri’ for orchestra drawn from the composer’s opera Higglety Pigglety Pop!, the second of his ‘fantasy operas’ in collaboration with Maurice Sendak. The suite comprises three episodes - ‘The Journey to the Big White House’, ‘Kleine Trauermusik and ‘The Ride to Castle Yonder’ - presented in a seamless sequence. Knussen describes it as ‘a theatrical requiem for [Sendak’s] dog, Jennie, in the frame of a ‘quest’ opera. Castle Yonder is Sendak’s imaginary theatrical heaven for animals’. The airy breadth of the opening of ‘The Journey’ established an ominous mood; within the spacious sound-world distinct textures and timbres emerged, meticulously defined by Gardner, like a rotating kaleidoscope. As more energised momentum accumulated, the trotting hooves of a milk-cart horse were heard, countering the eeriness with realism. The subsequent ‘meditation’ - Jennie’s dreams of lions’ - presented a simple, poignant contrast to such shifting complexities. The shift to the concluding ‘Ride’ was explosive and the percussive close shimmered thrillingly

The Chinese-Swiss pianist Louis Schwizgebel was the soloist in a refined performance of Beethoven’s Fourth Piano Concerto, though one occasionally lacking in strong characterisation. Schwizgebel was almost wrong-footed at the start by an intrusive sneeze which disrupted the pianist’s preparations for the placement of the crucial first chord of the Allegro moderato. When he did get underway, the elegant restraint of the opening chordal phrase was further disturbed by a splutter from the other side of the Hall. But, if Schwizgebel’s focus was unduly unsettled he did not let it mar the poetry of his exquisite phrasing. The first orchestral entry had an assertive ebullience which seemed out of keeping with the pianist’s self-possession; Gardner seemed to be urging the orchestra onwards, eager to find drama in the instrumental interplay, in contrast to the still, reflectiveness established by Schwizgebel; perhaps the pianist felt rushed, for his tone was rather brittle in the development section of the movement. The Andante felt overly brisk, and there was a never-quite-resolved tension between the asperity of the strings’ unison pronouncements and the piano’s more introverted expressiveness. The Rondo: Vivace was light of spirit but I’d have liked more brilliance and colour.

Claire Seymour


Performers:

Sarah Tynan - soprano, Alice Coote - mezzo-soprano, Robert Murray - tenor, Brindley Sherratt - bass, Louis Schwizgebel - piano, Edward Gardner - conductor, BBC Symphony Orchestra, BBC Symphony Chorus.

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):