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

Anthony Negus conducts Das Rheingold at Longborough

There are those in England who decorate their front lawns with ever-smiling garden gnomes, but in rural Gloucestershire the Graham family has gone one better; their converted barn is inhabited, not by diminutive porcelain figures, but fantasy creatures of Norse mythology - dwarves, giants and gods.

Carmen in San Francisco

A razzle-dazzle, bloodless Carmen at the War Memorial, further revival of Francesca Zambello’s 2006 Covent Garden production already franchised to Oslo, Sidney and Washington, D.C.

Weimar Berlin - Bittersweet Metropolis: Esa-Pekka Salonen conducts the Philharmonia Orchestra

Strictly speaking, The Weimar Republic began on 11th August 1919 when the Weimar Constitution was announced and ended with the Enabling Act of 23rd March 1933 when all power to enact laws without the involvement of the Reichstag was disbanded.

A superb Un ballo in maschera at Investec Opera Holland Park

Investec Opera Holland Park’s brilliantly cast new production of Un ballo in maschera reunites several of the creative team from last year’s terrific La traviata, with director Rodula Gaitanou, conductor Matthew Kofi Waldren and lighting designer Simon Corder being joined by the designer, takis.

A Classy Figaro at The Grange Festival

Where better than The Grange’s magnificent grounds to present Mozart’s Le nozze di Figaro. Hampshire’s neo-classical mansion, with its aristocratic connections and home to The Grange Festival, is the perfect setting to explore 18th century class structures as outlined in Lorenzo da Ponte’s libretto.

A satisfying Don Carlo opens Grange Park Opera 2019

Grange Park Opera opened its 2019 season with a revival of Jo Davies fine production of Verdi's Don Carlo, one of the last (and finest) productions in the company's old home in Hampshire.

Ernst von Siemens Music Prize, 2019

The first woman composer to receive the Ernst von Siemens Music Prize could not have been a worthier candidate.

Josquin des Prez and His Legacy: Cinquecento at Wigmore Hall

The renown and repute of Josquin des Prez (c.1450-1521) both during his lifetime and in the years following his death was so extensive and profound that many works by his contemporaries, working in Northern France and the Low Countries, were mis-attributed to him. One such was the six-part Requiem by Jean Richafort (c.1480-c.1550) which formed the heart of this poised concert by the vocal ensemble Cinquecento at Wigmore Hall, in which they gave pride of place to Josquin’s peers and successors and, in the final item, an esteemed forbear.

Symphonie fantastique and Lélio United – F X Roth and Les Siècles, Paris

Symphonie fantastique and Lélio together, as they should be, with François-Xavier Roth and Les Siècles livestreamed from the Philharmonie de Paris (link below). Though Symphonie fantastique is heard everywhere, all the time, it makes a difference when paired with Lélio because this restores Berlioz’s original context.

Ivo van Hove's The Diary of One Who Disappeared at the Linbury Theatre

In 1917 Leoš Janáček travelled to Luhačovice, a spa town in the Zlín Region of Moravia, and it was here that he met for the first time Kamila Stösslová, the young married woman, almost 40 years his junior, who was to be his muse for the remaining years of his life.

Manon Lescaut opens Investec Opera Holland Park's 2019 season

At this end of this performance of Puccini’s Manon Lescaut at Investec Opera Holland Park, the first question I wanted to ask director Karolina Sofulak was, why the 1960s?

Karlheinz Stockhausen: Cosmic traveling through his Klavierstücke, Kontakte and Stimmung

Stockhausen. Cosmic Prophet. Two sequential concerts. Music written for piano, percussion, sound diffusion and the voice. We are in the mysterious labyrinth of one of the defining composers of the last century. That at least ninety-minutes of one of these concerts proved to be an event of such magnitude is as much down to the astonishing music Stockhausen composed as it is to the peerless brilliance of the pianist who took us on the journey through the Klavierstücke. Put another way, in more than thirty years of hearing some of the greatest artists for this instrument - Pollini, Sokolov, Zimerman, Richter - this was a feat that has almost no parallels.

Don Giovanni at Garsington Opera

A violent splash of black paint triggers the D minor chord which initiates the Overture. The subsequent A major dominant is a startling slash of red. There follows much artistic swishing and swirling by Don Giovanni-cum-Jackson Pollock. The down-at-heel artist’s assistant, Leporello, assists his Master, gleefully spraying carmine oil paint from a paint-gun. A ‘lady in red’ joins in, graffiti-ing ‘WOMAN’ across the canvas. The Master and the Woman slip through a crimson-black aperture; the frame wobbles.

A brilliant The Bartered Bride to open Garsington's 2019 30th anniversary season

Is it love or money that brings one happiness? The village mayor and marriage broker, Kecal, has passionate faith in the banknotes, while the young beloveds, Mařenka and Jeník, put their own money on true love.

A reverent Gluck double bill by Classical Opera

In staging this Gluck double bill for Classical Opera, at the Queen Elizabeth Hall, director John Wilkie took a reverent approach to classical allegory.

Lise Davidsen sings Wagner and Strauss

Superlatives to describe Lise Davidsen’s voice have been piling up since she won Placido Domingo’s 2015 Operalia competition, blowing everyone away. She has been called “a voice in a million” and “the new Kirsten Flagstad.”

Nicky Spence and Julius Drake record The Diary of One Who Disappeared

From Hyperion comes a particularly fine account of Leoš Janáček’s song cycle The Diary of One Who Disappeared. Handsome-voiced Nicky Spence is the young peasant who loses his head over an alluring gypsy and is never seen again.

Time Stands Still: L'Arpeggiata at Wigmore Hall

Christina Pluhar would presumably irritate the Brexit Party: she delights in crossing borders and boundaries. Mediterraneo, the programme that she recorded and performed with L’Arpeggiata in 2013, journeyed through the ‘olive frontier’ - Portugal, Greece, Turkey, Spain, southern Italy - mixing the sultry folk melodies of Greece, Spain and Italy with the formal repetitions of Baroque instrumental structures, and added a dash of the shady timbres and rhythmic litheness of jazz.

Puccini’s Tosca at The Royal Opera House

Sitting through Tosca - and how we see and hear it these days - does sometimes make one feel one hasn’t been to the opera but to a boxing match. Joseph Kerman’s lurid, inspired or plain wrong-headed description of this opera as ‘a shabby little shocker’ was at least half right in this tenth revival of Jonathan Kent’s production.

A life-affirming Vixen at the Royal Academy of Music

‘It will be a dream, a fairy tale that will warm your heart’: so promised a preview article in Moravské noviny designed to whet the appetite of the Brno public before the first performance of Leoš Janáček’s The Cunning Little Vixen at the town’s Na hradbách Theatre on 6th November 1924.

OPERA TODAY ARCHIVES »

Reviews

13 Nov 2016

Beat Furrer FAMA - Hörtheater reaches London

Beat Furrer's FAMA came to London at last, with the London Sinfonietta. The piece was hailed as "a miracle" at its premiere at Donaueschingen in 2005 by Die Zeit: State of the Art New Music, recognized by mainstream media, which proves that there is a market for contemporary music lies with lively audiences

Beat Furrer : FAMA, London Sinfonietta, Isabelle Menke, Eva Furrer, EXAUDI, St John's Smith Square, 11 November 2016

A review by Anne Ozorio

 

FAMA is music as theatre in the widest sense, operating on multiple levels. In the last ten years, it's been performed many times, and there's a recording on Kairos. Experiencing it live, however, is essential since it was created as an experience to be enacted live, for maximum impact. It's a multi-sensory immersion: participation is not passive.

Ostensibly, Furrer's text comes from Arthur Schnitzler's novel Fräulein Else, about a girl who likes a fancy life and makes money from entertaining men, but it would be a mistake if this were taken too literally. The narrative isn't straightforward. The opera begins in Latin. then flows into a stream of consciousness, where ideas constantly mutate. What "is" Else's story? We aren't told in straightforward narrative. We learn through induction, empathizing with the clues in the seemingly disjointed text, and in the oblique imagery in the music. As we learn in real life. Significantly, FAMA begins with a discourse from Ovid, Metamorphoses Book XII, in which Fama the goddess of Rumour intuits meaning by processing what she hears around herself. What we knows, or think we know, grows through interpreting impressions from a non-stop flow of data.

Sparkling bell-like sounds, voices intoning fragments, beautifully pitched but elusive, long elliptical phrases in the orchestra shooting forth, patterns that move and draw back. The first two scenes in FAMA suggest teeming, vibrant happenings, just beyond our grasp. "Ich höre das Feuer.....ich höre den Regen..... ich höre in meiner Erinnerung.....ich höre das Schweigen." Then Else emerges, or rather Isabelle Menke intoning Else's words rapid-fire. The syntax isn't conversation, it doesn't communicate. It's an internal monologue, free associating, random thoughts from which we might, or might not, deduce who Else is. Perhaps Else herself is still figuring things out, asking questions, deducing, unsure. The ensemble reveals little: barely audible clicks and brushing sounds, as if the players themselves were listening and watching. As Else's voice rises, tensely, the orchestra bursts into manic life: cacophony, cut through by long, clear metallic lines, replicated by the voice. It's as if the voice and ensemble were reaching out, feeling out to invisible walls, gauging distance by sound waves. High, clear notes, flutes and clarinets feeling the way, hesitating, interrupted by sudden flashes of percussion. Sounds come from all directions, often out of sight, often distorted. Else's voice sometimes seems to materialize in the air. Piano sounds, accordion sounds, are heard as if from great distances across time. Ticking sounds, sometimes percussion, sometimes bows sawn against strings in bizarrely mechanical fashion. Every noise matters, no matter how subtle.

"Wie hübsch!" said Menke, with a demented smile. "How cute it is to walk around naked" Figuratively, she's watching herself in a mirror wondering what others think, and what she should be thinking of herself. The strings bow violent, mechanical angles, the brass blow mocking raspberries. The text describes how Else puts on a coat and walks naked through a hotel lobby. No-one knows. Then, at first quietly, the sound of a contrabass flute takes over where Else's words end. Contrabass flute: an instrument which looks so bizarre that just looking at it is an act of theatre. It's huge, silvery and metallic but, full blast, it's like a siren, blaring menace and mystery. This contrabass flute interlude is a magnificent coup de théâtre. The whole orchestra screams in response, then falls quiet as the contrabass flute, played by Eva Furrer, continued unchallenged, like a strange dancer, moving and singing with grave but bizarre beauty.

The words "Else, Else, Else" are projected onto the walls. A point is being made, visually, though the words are barely heard, the voices of Exaudi singing pure sound, materializing as if in dream. The effect was both magical and sinister. We don't know what happens to Else, but we could hear the swirling tumult in the orchestra. Walls of sound crashed around us, giving way to uncanny chords resonating in near silence. The contrabass flute led a section that seemed almost fugue-like in its grave but quirky dignity. Else returned briefly. Her last words were "Adresse bleibt Fiala". Whatever that's supposed to mean, I do not know, but the effect was powerful, and lingers tantalisingly in the mind. FAMA is more focused than Furrer's earlier Hörtheater Begrehen, first released on DVD in 2008, which also deals with multi-level concepts of time, space and sound. Thus FAMA lends itself well to semi-concert performance, as we enjoyed at St John's, Smith Square. Although we didn't see the cool, blue walls of the original, the plot. such as there is, predicates on a kind of mental imprisonment. The gold and burgundy of St John's, with its elegant chandelier, suggested the outward luxury of Else's profession, which could take place anywhere, not just in the Dolomites. The drama, and the genius, of Furrer's FAMA is that, through art, we may have come closer to understanding what goes on in Else's soul.

Thank goodness for the London Sinfonietta, returning to their roots in cutting-edge repertoire. For a while, they seemed caught up in sponsor-pleasing "education", but good work is, in itself, educational. Any orchestra can do education, but what the London Sinfonietta does is new music better than anyone else. This FAMA will be broadcast on BBC Radio 3 at an undisclosed date, but make sure you book for the next London Sinfonietta concert at St John's, Smith Square on December 6th when they'll be doing Hans Abrahamsen's Schnee, with Fool is Hurt, a new work by Simon Holt.

Anne Ozorio

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):