02 Mar 2016
Heroique flashes at Wigmore Hall
Bryan Hymel, Irene Roberts & Julius Drake at Rosenblatt Recitals
George Enescu’s Oedipe was premiered in Paris 1936 but it has taken 80 years for the opera to reach the stage of Covent Garden. This production by Àlex Ollé (a member of the Catalan theatrical group, La Fura Dels Baus) and Valentina Carrasco, which arrives in London via La Monnaie where it was presented in 2011, was eagerly awaited and did not disappoint.
Lyric Opera of Chicago staged Charles Gounod’s Roméo et Juliette as the last opera in its current subscription season.
‘The plot is perhaps the least moral in all opera; wrong triumphs in the name of love and we are not expected to mind.’
Anthony Minghella’s production of Madame Butterfly for ENO is wearing well. First seen in 2005, it is now being aired for the sixth time and is still, as I observed in 2013, ‘a breath-taking visual banquet’.
This concert version of La straniera felt like a compulsory musicology field trip, but it had enough vocal flashes to lobby for more frequent performances of this midway Bellini.
As poetry is the harmony of words, so music is that of notes; and as poetry is a rise above prose and oratory, so is music the exaltation of poetry.
From experiments with musique concrète in the 1940s, to the Minimalists’ explorations into tape-loop effects in the 1960s, via the appearance of hip-hop in the 1970s and its subsequent influence on electronic dance music in the 1980s, to digital production methods today, ‘sampling’ techniques have been employed by musicians working in genres as diverse as jazz fusion, psychedelic rock and classical music.
On May 7, 2016, San Diego Opera presented the West Coast premiere of Great Scott, an opera by Terrence McNally and Jake Heggie. McNally’s original libretto pokes fun at everything from football to bel canto period opera. It includes snippets of nineteenth century tunes as well as Heggie's own bel canto writing.
A foiled abduction, a castle-threatening inferno, romantic infatuation, guilt-laden near-suicide, gun-shots and knife-blows: Andrea Leone Tottola’s libretto for Vincenzo Bellini’s first opera, Adelson e Salvini, certainly does not lack dramatic incident.
Opera as an art form has never shied away from the grittier shadows of life. Nor has Manitoba Opera, with its recent past productions dealing with torture, incest, murder and desperate political prisoners still so tragically relevant today.
Published in 1855 as an entertainment for his two daughters, William Makepeace Thackeray’s The Rose and the Ring is a burlesque fairy-tale whose plot — to the author’s wilful delight, perhaps — defies summation and elucidation.
What more fitting memorial for composer Peter Maxwell Davies (d. 03/14/2016) than a splendid performance of The Lighthouse, the third of his eight works for the stage.
I suspect that many of those at the Wigmore Hall for The King’s Consort’s performance of the La Senna festeggiante (The Rejoicing Seine) were lured by the cachet of ‘Antonio Vivaldi’ and further enticed by the notion of a lover’s serenade at which the generic term ‘serenata’ seems to hint.
Having enjoyed superb singing by a young cast of soloists in Classical Opera’s UK premiere of Jommelli’s Il Vogoleso the previous evening, I was delighted that the 2016 Kathleen Ferrier Awards Final at the Wigmore Hall confirmed the strength and depth of talent possessed by the young singers studying in and emerging from our academies and conservatoires.
On February 7, 1786, Emperor Joseph II of Austria had brand new one-act operas by Wolfgang Amadeus Mozart and Antonio Salieri performed in the Schönbrunn Palace’s Orangery.
Those poor opera lovers in Cologne have a never ending problem with the city’s opera house. Together with the rest of city, the construction of the new opera house is mired in political incompetence.
London remains starved of Wagner. This season, its major companies offer but two works, Tannhäuser from the Royal Opera and Tristan from ENO.
Dmitry Bertman’s hilarious staging of Rimsky-Korsakov’s political sex-comedy The Golden Cockerel in Düsseldorf.
On April 16, 2016, San Diego Opera presented Giacomo Puccini’s sixth opera, Madama Butterfly, in an intriguing production by Garnett Bruce. Roberto Oswald’s scenery included the usual Japanese styled house with many sliding doors and walls. On either side, however, were blooming cherry trees with rough trunks and gnarled branches that looked as though they had been growing on the property for a hundred years.
New Co-Production Tristan und Isolde with Metropolitan: Simon Rattle and Westbroek electrify Treliński’s Opera-Noir.
Bryan Hymel, Irene Roberts & Julius Drake at Rosenblatt Recitals
Last night's Rosenblatt Recital (25 February 2016) at theWigmore Hall was shared by the American tenor Bryan Hymel (known for his performances as Aeneas in Berlioz' Les Troyens at Covent Garden and his disc Heroique of French 19th century heroic opera arias), and the young American mezzo-soprano Irene Roberts (who will be singing the title role in Bizet's Carmen with San Francisco Opera and Deutsche Oper Berlin this year). The two singers were accompanied in a programme of RVW, Wagner, Gounod, Mascagni, Berlioz and Bizet by pianist Julius Drake. The programme opened with Bryan Hymel singing RVW's Four Hymns for Tenor, when he and Drake were joined by viola player Krzysztof Chorzelski , then Irene Roberts sang four of Wagner's Wesendonck Lieder. Bryan Hymel then gave us Ah! leve-toi, soleil! from Gounod's Romeo et Juliette and Mamma, quel vino e generoso from Mascagni's Cavalleria rusticana, with two excerpts from Bizet's Carmen to conclude the programme.
One of the fascinating things about Rosenblatt Recitals is the way the series places opera singers in a concert context, and showcases their repertoire choices when moving away from operatic drama. Bryan Hymel's choice of RVW's Four Hymns for Tenor was an intriguing choice indeed. The work is an early one, written in 1911 shortly after the Five Mystical Songs and partaking of the same aura of mystical rapture. We are used to hearing the work sung by classic English lyric tenor voices but Hymel has shown that his voice has the refreshingly old-fashion combination of narrow-focus power with remarkable flexibility. For all the big bright sound in at the opening, Hymel was able to bring his tone down and give us moments of lower key intimacy. This was quite a big boned performance, and Hymel was finely matched by viola player Krzysztof Chorzelski and pianist Julius Drake. However Hymel's performance seemed a little constrained and score-bound (it was the only work of the evening where he sang from the score), and it perhaps was not the ideal work to open the programme. For all the inward quality which he brought to it, the performance did rather miss the sense of mysticism that these songs need. However Hymel did give the music a very intense presence.
Irene Roberts [Photo by Kristin Hoebermann]
Next, Irene Roberts sang four of Wagner's Fünf Gedichte für eine Frauenstimme (Wesendonck Lieder); she missed off Im Treibhaus, one of the two songs which Wagner labelled 'Studie zu Tristan und Isolde' (studies for Tristan and Isolde). The five songs should probably not be regarded as a song cycle, Wagner wrote them over the period of a year (1857-1858) and the present order of the songs was only fixed by the publishers, Schott, in 1862. However it was a shame that we missed the perfumed Tristan-esque exoticism of Im Treibhaus, and thankfully we were treated to it as an encore at the end of the recital.
Irene Roberts has a big, bold, dark-hued mezzo-soprano voice and is already singing Kundry in Parsifal and you suspect that other large dramatic mezzo-soprano roles will come into her repertoire. At this stage in her career though, she seemed to need something of a guiding hand from a director, as her performance of the Wagner songs was impressive and finely correct without really exploring the spark of erotic romantic languor. You felt that Roberts needed to relax somewhat and revel a little more in the wonderfully rich sound she was making. Instead this was a performance which impressed rather than seduced. Der Engel was beautifully done but too literal, and needed to be a bit steamier. Stehe still! was intense and vibrant, though Roberts sound occasionally verged on the wild. You sensed that with the right direction she could be a really exciting performer and in Schmerzen she brought a lovely dark tone to bear. For the opening of Träume Julius Drake gave us an object lesson in how to bring out the Tristan-esque subtlety of this music, playing with flexibility and seductiveness, with great care of the space between the notes. Roberts performance however, though intense and inward, was a bit too soberly serious.
Bryan Hymel opened the second half with Romeo's Ah! leve-toi, soleil from Gounod's Romeo et Juliette. Romeo is nowadays a role sung mainly by tenor with voices of a more lyric cast, but in the 19th century the great Polish tenor Jean de Reske used to perform Romeo and Tristan in the same season. Hymel sang without music and seemed far more relaxed, and at ease than in the first half, and this showed in his performance. He demonstrated that it is perfectly possible, bringing his flexible yet big bright sound to bear on Gounod's music and showing us how the lyricism of the aria can be combined with a thrilling sound, concluding with a fabulous top note.
He followed this with more conventional dramatic tenor repertoire, Mamma, quel vino e generoso, Turiddu's emotional leave-taking from his mother in Mascagni's Cavalleria rusticana. In a vibrantly upfront performance of classic Italian verismo repertoire we notice the relative narrow focus of Hymel's voice compared to more recent Italian tenors. But this also meant that the performance had a lovely intensity and flexibility, combined with a strong sense of character and superb tone quality.
Irene Roberts sang Marguerite's D'amour l'ardente flammme from Berlioz's La damnation de Faust. Roberts showed a fine sense of control in a powerfully intense performance. Her French was nicely correct but she didn't really make enough of the words and in the more passionate moments her diction slipped. Overall I really wanted a little more sense of risk and a suppleness in her account of the role.
Finally we had two extracts from Bizet's Carmen. First Bryan Hymel sang La fleur que to m'avais jetee from Act Two, in which he demonstrated how ideal he is in this type of repertoire. Singing with finely expressive French and allowing the language to colour his tone in a way that most Italian-trained singers do not. He combined power and suppleness in ideal proportions. This and the Gounod made me wish that Hymel's repertoire choices for the recital had perhaps focussed on this area more.
Finally Hymel and Roberts gave us the whole of the final scene from Carmen. Granted we missed the off-stage chorus somewhat, but Julius Drake's piano went a long way to supplying that element of the drama. In this scene the dark intensity of Roberts voice really came into its own, and that strong, sober intensity made Carmen's 'Non, je ne t'aime plus!' really count. And she was finely contrasted with Hymel's wonderfully ardent and brightly intense Don Jose. I have to confess that I had been hoping for something a little more unusual in the recital, but this scene demonstrated a fine sense of style combined with powerful drama.
Finding an encore to follow that scene was inevitably difficult so Irene Roberts sang Im Treibhaus from Wagner's Wesendonck Lieder which Julius Drake segued straight into Bryan Hymel singing Nessun dorma from Puccini's Turandot.
Programme and performers:
Vaughan Williams, Wagner, Gounod, Berlioz, Bizet
Bryan Hymel, tenor; Irene Roberts, mezzo-soprano; Krzysztof Chorzelski, viola; Julius Drake, piano. Rosenblatt Recitals at the Wigmore Hall, 25 February 2016.