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

Bampton Classical Opera Young Singers’ Competition 2017 - Winner Announced

Bampton Classical Opera is pleased to announce that the winner of the 2017 Young Singers’ Competition is mezzo-soprano Emma Stannard and the runner-up is tenor Wagner Moreira. The winner of the accompanists’ prize, a new category this year, is Keval Shah.

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.

Garsington Opera’s Silver Birch on BBC Arts Digital

Audiences will have the chance to feel part of a new opera inspired by Siegfried Sassoon’s poems with an innovative 360-degree simulated experience of Garsington Opera’s Silver Birch on BBC Arts Digital from midday, Wednesday 8th November.

Mozart’s Requiem: Pierre-Henri Dutron Edition

The stories surrounding Mozart’s Requiem are well-known. Dominated by the work in the final days of his life, Mozart claimed that he composed the Requiem for himself (Landon, 153), rather than for the wealthy Count Walsegg’s wife, the man who had commissioned it in July 1791.

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.

Schumann and Mahler Lieder : Florian Boesch

Schumann and Mahler Lieder with Florian Boesch and Malcolm Martineau, now out from Linn Records, following their recent Schubert Winterreise on Hyperion. From Boesch and Martineau, excellence is the norm. But their Mahler Lieder eines fahrenden Gesellen takes excellence to even greater levels

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.

Hans Werner Henze : Kammermusik 1958

"....In lieblicher Bläue". Landmark new recordings of Hans Werner Henze Neue Volkslieder und Hirtengesänge and Kammermusik 1958 from the Scharoun Ensemble Berlin, with Andrew Staples, Markus Weidmann, Jürgen Ruck and Daniel Harding.

Written on Skin: the Melos Sinfonia take George Benjamin's opera to St Petersburg

As I approach St Cyprian’s Church in Marylebone, musical sounds which are at once strange and sensuous surf the air. Inside I find seventy or so instrumentalists and singers nestled somewhat crowdedly between the pillars of the nave, rehearsing George Benjamin’s much praised 2012 opera, Written on Skin.

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):