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

TOSCA: A Dramatic Sing-Fest

On November 12, 2017, Arizona Opera presented Giacomo Puccini’s verismo opera, Tosca, in a dramatic production directed by Tara Faircloth. Her production utilized realistic scenery from Seattle Opera and detailed costumes from the New York City Opera. Gregory Allen Hirsch’s lighting made the set look like the church of St. Andrea as some of us may have remembered it from time gone by.

The Lighthouse: Shadwell Opera at Hackney Showroom

‘Only make the reader’s general vision of evil intense enough … and his own experience, his own imagination, his own sympathy … and horror … will supply him quite sufficiently with all the particulars. Make him think the evil, make him think it for himself, and you are released from weak specifications.’

Elisabeth Kulman sings Mahler's Rückert-Lieder with Sir Mark Elder and the Britten Sinfonia

Austrian singer Elisabeth Kulman has had an interesting career trajectory. She began her singing life as a soprano but later shifted to mezzo-soprano/contralto territory. Esteemed on the operatic stage, she relinquished the theatre for the concert platform in 2015, following an accident while rehearsing Tristan.

Tremendous revival of Katie Mitchell's Lucia at the ROH

The morning sickness, miscarriage and maundering wraiths are still present, but Katie Mitchell’s Lucia di Lammermoor, receiving its first revival at the ROH, seems less ‘hysterical’ this time round - and all the more harrowing for it.

Manon in San Francisco

Nothing but a wall and a floor (and an enormous battery of unseen lighting instruments) and two perfectly matched artists, the Manon of soprano Ellie Dehn and the des Grieux of tenor Michael Fabiano, the centerpiece of Paris’ operatic Belle Époque found vibrant presence on the War Memorial stage.

A beguiling Il barbiere di Siviglia from GTO

I had mixed feelings about Annabel Arden’s production of Il barbiere di Siviglia when it was first seen at Glyndebourne in 2016. Now reprised (revival director, Sinéad O’Neill) for the autumn 2017 tour, the designs remain a vibrant mosaic of rich hues and Moorish motifs, the supernumeraries - commedia stereotypes cum comic interlopers - infiltrate and interact even more piquantly, and the harpsichords are still flying in, unfathomably, from all angles. But, the drama is a little less hyperactive, the characterisation less larger-than-life. And, this Saturday evening performance went down a treat with the Canterbury crowd on the final night of GTO’s brief residency at the Marlowe Theatre.

Brett Dean's Hamlet: GTO in Canterbury

‘There is no such thing as Hamlet,’ says Matthew Jocelyn in an interview printed in the 2017 Glyndebourne programme book. The librettist of Australian composer Brett Dean’s opera based on the Bard’s most oft-performed tragedy, which was premiered to acclaim in June this year, was noting the variants between the extant sources for the play - the First, or ‘Bad’, Quarto of 1603, which contains just over half of the text of the Second Quarto which published the following year, and the First Folio of 1623 - no one of which can reliably be guaranteed superiority over the other.

WNO's Russian Revolution series: the grim repetitions of the house of the dead

‘We lived in a heap together in one barrack. The flooring was rotten and an inch deep in filth, so that we slipped and fell. When wood was put into the stove no heat came out, only a terrible smell that lasted through the winter.’ So wrote Dostoevsky, in a letter to his brother, about his experiences in the Siberian prison camp at Omsk where he was incarcerated between 1850-54, because of his association with a group of political dissidents who had tried to assassinate the Tsar. Dostoevsky’s ‘house of the dead’ is harrowingly reproduced by Maria Björsen’s set - a dark, Dantesque pit from which there is no possibility of escape - for David Pountney’s 1982 production of Janáček’s final opera, here revived as part of Welsh National Opera’s Russian Revolution series.

The 2017 Glyndebourne Tour arrives in Canterbury with a satisfying Così fan tutte

A Così fan tutte set in the 18th century, in Naples, beside the sea: what, no meddling with Mozart? Whatever next! First seen in 2006, and now on its final run before ‘retirement’, Nicholas Hytner’s straightforward account (revived by Bruno Ravella) of Mozart’s part-playful, part-piquant tale of amorous entanglements was a refreshing opener at the Marlowe Theatre in Canterbury where Glyndebourne Festival Opera arrived this week for the first sojourn of the 2017 tour.

Richard Jones's Rodelinda returns to ENO

Shameless grabs for power; vicious, self-destructive dynastic in-fighting; a self-righteous and unwavering sense of entitlement; bruised egos and integrity jettisoned. One might be forgiven for thinking that it was the current Tory government that was being described. However, we are not in twenty-first-century Westminster, but rather in seventh-century Lombardy, the setting for Handel’s 1725 opera, Rodelinda, Richard Jones’s 2014 production of which is currently being revived at English National Opera.

Amusing Old Movie Becomes Engrossing New Opera

Director Mario Bava’s motion picture, Hercules in the Haunted World, was released in Italy in November 1961, and in the United States in April 1964. In 2010 composer Patrick Morganelli wrote a chamber opera entitled Hercules vs. Vampires for Opera Theater Oregon.

Rigoletto at Lyric Opera of Chicago

If a credible portrayal of the title character in Giuseppe Verdi’s Rigoletto is vital to any performance, the success of Lyric Opera of Chicago’s current, exciting production hinges very much on the memorable court jester and father sung by baritone Quinn Kelsey.

Wexford Festival Opera 2017

‘What’s the delay? A little wind and rain are nothing to worry about!’ The villagers’ indifference to the inclement weather which occurs mid-way through Jacopo Foroni’s opera Margherita - as the townsfolk set off in pursuit of two mystery assailants seen attacking a man in the forest - acquired an unintentionally ironic slant in Wexford Opera House on the opening night of Michael Sturm’s production, raising a wry chuckle from the audience.

The Genius of Purcell: Carolyn Sampson and The King's Consort at the Wigmore Hall

This celebration of The Genius of Purcell by Carolyn Sampson and The King’s Consort at the Wigmore Hall was music-making of the most absorbing and invigorating kind: unmannered, direct and refreshing.

Classical Opera/The Mozartists celebrate 20 years of music-making

Classical Opera celebrated 20 years of music-making and story-telling with a characteristically ambitious and eclectic sequence of musical works at the Barbican Hall. Themes of creation and renewal were to the fore, and after a first half comprising a variety of vocal works and short poems, ‘Classical Opera’ were succeeded by their complementary alter ego, ‘The Mozartists’, in the second part of the concert for a rousing performance of Beethoven’s Choral Symphony - a work described by Page as ‘in many ways the most iconic work in the repertoire’.

Back to Baroque and to the battle lines with English Touring Opera

Romeo and Juliet, Rinaldo and Armida, Ramadès and Aida: love thwarted by warring countries and families is a perennial trope of literature, myth and history. Indeed, ‘Love and war are all one,’ declared Miguel de Cervantes in Don Quixote, a sentiment which seems to be particularly exemplified by the world of baroque opera with its penchant for plundering Classical Greek and Roman myths for their extreme passions and conflicts. English Touring Opera’s 2017 autumn tour takes us back to the Baroque and back to the battle-lines.

Gluck’s Orphée et Eurydice at Lyric Opera of Chicago

Christoph Willibald von Gluck’s Orphée et Eurydice opened the 2017–18 season at Lyric Opera of Chicago.

Michelle DeYoung, Mahler Symphony no 3 London

The Third Coming ! Esa-Pekka Salonen conducted Mahler Symphony no 3 with the Philharmonia at the Royal Festival Hall with Michelle DeYoung, the Philharmonia Voices and the Tiffin Boys’ Choir. It was live streamed worldwide, an indication of just how important this concert was, for it marks the Philharmonia's 34-year relationship with Salonen.

King Arthur at the Barbican: a semi-opera for the 'Brexit Age'

Purcell’s and Dryden’s King Arthur: or the British Worthy presents ‘problems’ for directors. It began life as a propaganda piece, Albion and Albanius, in 1683, during the reign of Charles II, but did not appear on stage as King Arthur until 1691 when William of Orange had ascended to the British Throne to rule as William III alongside his wife Mary and the political climate had changed significantly.

Anne Schwanewilms sings Schreker, Schubert, Liszt and Korngold

On a day when events in Las Vegas cast a shadow over much of the news this was not the most comfortable recital to sit through for many reasons. The chosen repertoire did, at times, feel unduly heavy - and very Germanic - but it was also unevenly sung.

OPERA TODAY ARCHIVES »

Performances

The King’s Consort [Photo by Taco van der Werf]
04 May 2016

King’s Consort at Wigmore Hall

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.

King’s Consort at Wigmore Hall

A review by Claire Seymour

Above: The King’s Consort [Photo by Taco van der Werf]

 

In the event, while there were many opportunities to enjoy Vivaldi’s melodic gifts and colourful scoring, and players and singers were undoubtedly committed, the various parts of what is essentially a pasticcio didn’t quite add up to a persuasive whole.

In fact, ‘serenata’ derives from the Italian ‘sereno’: calm and clear. The form emerged in the mid-1660s as a sort of hybrid nestled somewhere between cantata, oratorio and opera, and serenatas often composed to mark a festive or celebratory occasion. Usually comprising two acts, they were presented ‘in concert’ by two or more soloists, who did not wear costumes and were not required to act but simply took turns to sing their arias, which employed the general musical style of contemporary opera. Indeed, there was often no ‘action’ to speak of; rather, the inevitably laudatory texts commonly presented discursive debate between allegorical figures. (I am indebted to Michael Talbot, from whose programme article and longer essay, ‘The Serenata in Eighteenth-Century Venice’ (Royal Musical Association Research Chronicle, No.18, 1982) I have gleaned historical information.)

Vivaldi’s La Senna festeggiante fits this bill. Domenico Lalli’s libretto sends L’Età dell’Oro (The Golden Age) and La Virtù (Virtue) on a quest beside the River Seine (La Senna). In a succession of fairly succinct arias, duets and trios they sing each other’s praises in verse of somewhat tedious verbosity, then espy the splendours of the Palace of Versailles and eulogize the French King, rejoicing in the glories that await him.

As might be expected of the form, there is no dramatic content, which might have played to Vivaldi’s advantage as he is able to exercise his melodic flair without concern for ‘plot’ and dramatic form, and the score certainly has an air of freedom and resourcefulness. Historically, the static nature of the performance probably aided the singers too — especially if expediency meant there was little time for compilation and rehearsal — for they were not required to learn their roles from memory. On this occasion, though, advantage became drawback, and of the three soloists — soprano Julia Doyle (L'Età dell'Oro), contralto Hilary Summers (La Virtù) and bass David Wilson-Johnson (La Senna) — only Summers was confidently off-score and as such communicated much more directly and powerfully, establishing a more three-dimensional ‘character’. (Summers sang the role for conductor Robert King’s Hyperion recording of the work in 2002: Hyperion CDA67361/2.)

But, there was plenty to admire, not least the nods towards the Gallic style which pepper the Italianate elements of the score. Although only three of Vivaldi’s known eight serenatas survive, several are thought to have been connected with events at the French court of Louis XV, and commissioned by the recently appointed French Ambassador to Venice, Vincent Languet, Count of Gergy. Thus, La gloria Imeneo (1725) was composed to celebrate Louis’s wedding to the Polish Princess Maria Leszczynska, while the lost serenata L’unione della pace e di marte honoured the birth of royal twins in 1727.

La Senna festeggiante deals with Louis’s accession to the throne in 1724 and was probably intended to be delivered as a homage on the feast of St. Louis — though Talbot laments the absence of a central bifolio from the long final recitative in which conventionally the circumstances of performance are elucidated, noting that King has supplied extra music to text by Carlo Vitali to fill the gap.

Vivaldi’s enthusiastic experimentation with the French style is evident in the dance-like pulse which enlivens many of the arias and in the extensive use of accompagnato recitative. The Gallic idiom was immediately apparent in the animated dotted rhythms of the first part of the opening Sinfonia (and the more aggressive counterpart in the Part 2 overture). The five string players of the King’s Consort played with robustness but despite their obvious hard work, the violin tone was a little thin. The central movement of the Sinfonia lacked lyrical warmth as a result, though the final Allegro was bright and buoyant. Elsewhere the ‘off-the-string’ bowing was a little dry. Perhaps aware of the challenge for the strings, King extended the use of Vivaldi’s prescribed two recorders and two oboes to double or replace the strings elsewhere in the score, so it was fortunate that the intonation discrepancies in the Sinfonia were quickly settled.

Julia Doyle was a pure-toned, innocent Golden Age, singing with lightness and fleetness and exercising consistent vocal control and an impressive precision in the higher registers. Typical was the delicate flourish which embodies the lines ‘If sometimes here I go in search of peace, the nightingale for flies around singing, pauses in flight and answers: peace’ in Doyle’s opening aria (‘Se qui pace talor vo cercando’), which would happily have substituted for the bird-song mimicry which Vivaldi incorporates joyfully into his concertos. Similarly, ‘Al mio seno il pargoletto’ (which Vivaldi borrowed from his 1716 opera Arsilda, regina di Ponto) was characterised by charmingly fluid, clear lines and arcs: ‘At my breast I will feed the little Baby on milk alone, sucked there with unsullied lips.’ The soprano used the barest sprinkle of vibrato which graced the role with freshness and refinement, but at times I longed for a little more depth and colour, particularly as the arias themselves lacked any notable variety of vocal style. The Part 2 aria ‘Giace languente’ (Conquered Fate) found Doyle at her best: following a minor-key recitative to which the theorbo’s expressive spread chords (Eligio Quinterio) had lent poignancy, this was singing of agility and stronger expressive presence, as the soprano engaged thoughtfully with the energetic woodwind interspersions.

Virtù was a figure of dignity and regality as crafted by Hilary Summers. Her contralto is silky and full but she restrained its more voluptuous layers and used its depth to convey sincerity and profundity. Her tuning was impeccable and the melodic line focused and fluent, most particularly in the Part 2 aria ‘Stelle, con vostra pace’ (modelled on an aria from Vivaldi’s Arsilda), in which she sustained a flowing melody against an assertive unison line for violins. ‘Così sol nell’aurora’, which began with the violins’ gentle pastoral prelude, showed off the contralto’s nimbleness of voice and closed with an exciting instrumental diminuendo to depict the ‘sun, with his shining rays appear among the stars, full of splendours’. Summers’ arias were also notable for the clarity of the diction, which was aided by her obvious familiarity with the role.

The ladies’ voices blended appealingly in their duets, but it was David Wilson-Johnson who had the lion’s share of the virtuosity to negotiate. The baritone was secure in the more challenging numbers such as ‘L’alta lor gloria immortale’, with its racing vocal line, and the pitching in La Senna’s first aria, ‘Qui nel profondo’ was very focused as Wilson-Johnson negotiated the nimble lines in unison with the accompaniment. I’d have liked a bit more heroism in ‘L’alta’, though, and while ‘Pietà, dolcezza’ which opens Part 2 was expressively phrased — and the preceding recitative featured a wonderfully quite plummet at the close — the gentleness of Wilson-Johnson’s baritone was rather subsumed by the forceful instrumental bass lines. The final chorus is in four parts, and tenor Tom Robson made a brief appearance to form the quartet.

The arias succeeded one another apace and King kept things swinging along, his swift, sharp hand gestures supplemented by twists of the shoulder, nudges of the elbow and nimble sways. But, this patchwork score — there are copious musical borrowings from Vivaldi’s earlier works and textual borrowings from his operas Apollo in Tempe, Calisto in orsa among others — required more consistently penetrating vocal performances and, perhaps, more lavish orchestral accompaniment, to triumph over the short-comings which even King’s evident, unflagging enthusiasm could not quite overcome.

Claire Seymour


Cast and production information:

The King’s Consort: Robert King — conductor, Julia Doyle — soprano (as L’Età dell’Oro), Hilary Summers — contralto (as La Virtù), David Wilson-Johnson — baritone (as La Senna), Tom Robson — tenor (as Chorus).

Wigmore Hall, London, Tuesday 3rd May 2016

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):