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 Reviews

Hugo Wolf, Italienisches Liederbuch

Nationality is a complicated thing at the best of times. (At the worst of times: well, none of us needs reminding about that.) What, if anything, might it mean for Hugo Wolf’s Italian Songbook? Almost whatever you want it to mean, or not to mean.

Mortal Voices: the Academy of Ancient Music at Milton Court

The relationship between music and money is long-standing, complex and inextricable. In the Baroque era it was symbiotically advantageous.

Glyndebourne Opera Cup 2018: semi-finalists announced

The semi-finalists for the first Glyndebourne Opera Cup have been announced. Following a worldwide search that attracted nearly 200 entries, and preliminary rounds in Berlin, London and Philadelphia, 23 singers aged 21-28 have been chosen to compete in the semi-final at Glyndebourne on 22 March.

ENO announces Studio Live casts and three new Harewood Artists

English National Opera (ENO) has announced the casts for Acis and Galatea and Paul Bunyan, 2018’s two ENO Studio Live productions. ENO Studio Live forms part of ENO Outside which takes ENO’s work to arts-engaged audiences that may not have considered opera before, presenting the immense power of opera in more intimate studio and theatre environments.

Handel in London: 2018 London Handel Festival

The 2018 London Handel Festival explores Handel’s relationship with the city. Running from 17 March to 16 April 2018, the Festival offers four weeks of concerts, talks, walks & film screenings explore masterpieces by Handel, from semi-staged operas to grand oratorio and lunchtime recitals.

Dartington International Summer School & Festival: 70th anniversary programme

Internationally-renowned Dartington Summer School & Festival has released the course programme for its 70th Anniversary Summer School and Festival, curated by the pianist Joanna MacGregor, that will run from 28th July to 25th of August 2018.

I Puritani at Lyric Opera of Chicago

What better evocation of bel canto than an opera which uses the power of song to dispel madness and to reunite the heroine with her banished fiancé? Such is the final premise of Vincenzo Bellini’s I puritani, currently in performance at Lyric Opera of Chicago.

Iolanthe: English National Opera

The current government’s unfathomable handling of the Brexit negotiations might tempt one to conclude that the entire Conservative Party are living in the land of the fairies. In Gilbert & Sullivan’s 1882 operetta Iolanthe, the arcane and Arcadia really do conflate, and Cal McCrystal’s new production for English National Opera relishes this topsy-turvy world where peris consort with peri-wigs.

Il barbiere di Siviglia in Marseille

Any Laurent Pelly production is news, any role undertaken by soprano Stephanie d’Oustrac is news. Here’s the news from Marseille.

Riveting Maria de San Diego

As part of its continuing, adventurous “Detour” series, San Diego Opera mounted a deliciously moody, proudly pulsating, wholly evocative presentation of Astor Piazzolla’s “nuevo tango” opera, Maria de Buenos Aires.

La Walkyrie in Toulouse

The Nicolas Joel 1999 production of Die Walküre seen just now in Toulouse well upholds the Airbus city’s fame as Bayreuth-su-Garonne (the river that passes through this quite beautiful, rich city).

Barrie Kosky's Carmen at Covent Garden

Carmen is dead. Long live Carmen. In a sense, both Bizet’s opera and his gypsy diva have been ‘done to death’, but in this new production at the ROH (first seen at Frankfurt in 2016) Barrie Kosky attempts to find ways to breathe new life into the show and resurrect, quite literally, the eponymous temptress.

Candide at Arizona Opera

On Friday February 2, 2018, Arizona Opera presented Leonard Bernstein’s Candide to honor the 100th anniversary of the composer’s birth. Although all the music was Bernstein’s, the text was written and re-written by numerous authors including Lillian Hellman, Richard Wilbur, Stephen Sondheim, John La Touche, and Dorothy Parker, as well as the composer.

Satyagraha at English National Opera

The second of Philip Glass’s so-called 'profile' operas, Satyagraha is magnificent in ENO’s acclaimed staging, with a largely new cast and conductor bringing something very special to this seminal work.

Mahler Symphony no 8—Harding, Swedish Radio Symphony Orchestra

From the Berwaldhallen, Stockholm, a very interesting Mahler Symphony no 8 with Daniel Harding and the Swedish Radio Symphony Orchestra. The title "Symphony of a Thousand" was dreamed up by promoters trying to sell tickets, creating the myth that quantity matters more than quality. For many listeners, Mahler 8 is still a hard nut to crack, for many reasons, and the myth is part of the problem. Mahler 8 is so original that it defies easy categories.

Wigmore Hall Schubert Birthday—Angelika Kirchschlager

At the Wigmore Hall, Schubert's birthday is always celebrated in style. This year, Angelika Kirchschlager and Julius Drake, much loved Wigmore Hall audience favourites, did the honours, with a recital marking the climax of the two-year-long Complete Schubert Songs Series. The programme began with a birthday song, Namenstaglied, and ended with a farewell, Abschied von der Erde. Along the way, a traverse through some of Schubert's finest moments, highlighting different aspects of his song output : Schubert's life, in miniature.

A Splendid Italian Spoken-Dialogue Opera: De Giosa’s Don Checco

Never heard of Nicola De Giosa (1819-85), a composer who was born in Bari (a town on the Adriatic, near the heel of Italy), but who spent most of his career in Naples? Me, neither!

Winterreise by Mark Padmore

Schubert's Winterreise is almost certainly the most performed Lieder cycle in the repertoire. Thousands of performances and hundreds of recordings ! But Mark Padmore and Kristian Bezuidenhout's recording for Harmonia Mundi is proof of concept that the better the music the more it lends itself to re-discovery and endless revelation.

Ilker Arcayürek at Wigmore Hall

The first thing that struck me in this Wigmore Hall recital was the palpable sincerity of Ilker Arcayürek’s artistry. Sincerity is not everything, of course; what we think of as such may even be carefully constructed artifice, although not, I think, here.

Lisette Oropesa sings at Tucson Desert Song Festival

On January 30, 2018, Arizona Opera and the Tucson Desert Song Festival presented a recital by lyric soprano Lisette Oropesa in the University of Arizona’s Holsclaw Hall. Looking like a high fashion model in her silver trimmed midnight-blue gown, the singer and pianist Michael Borowitz began their program with Pablo Luna’s Zarzuela aria, “De España Vengo.” (“I come from Spain”).

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):