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

Le Concert Royal de la Nuit - Ensemble Correspondances

Le Concert Royal de la Nuit with Ensemble Correspondances led by Sébastien Daucé, the glorious culmination of the finest London Festival of the Baroque in years on the theme "Treasures of the Grand Siècle". Le Concert Royal de la Nuit was Louis XIV's announcement that he would be "Roi du Soleil", a ruler whose magnificence would transform France, and the world, in a new age of splendour.

Voices of Revolution – Prokofiev, Exile and Return

Seven, they are Seven , op.30; Violin Concerto no.1 in D minor, op.19; Cantata for the Twentieth Anniverary of the October Revolution, op.74. David Butt Philip (tenor), Pekka Kuusisto (violin), Aidan Oliver (voice of Lenin, chorus director), Philharmonia Voices, Crouch End Festival Chorus, Students of the Royal Welsh College of Music and Drama (military band), Philharmonia Orchestra/Vladimir Ashkenazy (conductor). Royal Festival Hall, London, Sunday 20 May 2018.

Charpentier Histoires sacrées, staged - London Baroque Festival

Marc-Antoine Charpentier Histoires sacrées with Ensemble Correspondances, conducted by Sébastien Daucé, at St John's Smith Square, part of the London Festival of the Baroque 2018. This striking staging, by Vincent Huguet, brought out its austere glory: every bit a treasure of the Grand Siècle, though this grandeur was dedicated not to Sun God but to God.

No Time in Eternity: Iestyn Davies discusses Purcell and Nyman

Revolution, repetition, rhetoric. On my way to meet countertenor Iestyn Davies, I ponder if these are the elements that might form connecting threads between the music of Henry Purcell and Michael Nyman, whose works will be brought together later this month when Davies joins the viol consort Fretwork for a thought-provoking recital at Milton Court Concert Hall.

Aïda in Seattle: don’t mention the war!

When Francesca Zambello presented Aïda at her own Glimmerglass Opera in 2012, her staging was, as they say, “ripped from today’s headlines.” Fighter planes strafed the Egyptian headquarters as the curtain rose, water-boarding was the favored form of interrogation, Radames was executed by lethal injection.

Glyndebourne Festival Opera 2018 opens with Annilese Miskimmon's Madama Butterfly

As the bells rang with romance from the tower of St George’s Chapel, Windsor, the rolling downs of Sussex - which had just acquired a new Duke - echoed with the strains of a rather more bitter-sweet cross-cultural love affair. Glyndebourne Festival Opera’s 2018 season opened with Annilese Miskimmon’s production of Madama Butterfly, first seen during the 2016 Glyndebourne tour and now making its first visit to the main house.

Remembering Debussy

This concert might have been re-titled Remembrance of Musical Times Past: the time, that is, when French song, nurtured in the Proustian Parisian salons, began to gain a foothold in public concert halls. But, the madeleine didn’t quite work its magic on this occasion.

Garsington's Douglas Boyd on Strauss and Skating Rinks

‘On August 3, 1941, the day that Capriccio was finished, 682 Jews were killed in Chernovtsy, Romania; 1,500 in Jelgava, Latvia; and several hundred in Stanisławów, Ukraine. On October 28, 1942, the day of the opera’s premiere in Munich, the first convoy of Jews from Theresienstadt arrived at Auschwitz-Birkenau, and 90 percent of them went to the gas chamber.’

A chiaroscuro Orfeo from Iestyn Davies and La Nuova Musica

‘I sought to restrict the music to its true purpose of serving to give expression to the poetry and to strengthen the dramatic situations, without interrupting the action or hampering it with unnecessary and superfluous ornamentations. […] I believed further that I should devote my greatest effort to seeking to achieve a noble simplicity; and I have avoided parading difficulties at the expense of clarity.’

Lessons in Love and Violence: powerful musical utterances but perplexing dramatic motivations

‘What a thrill -/ My thumb instead of an onion. The top quite gone/ Except for a sort of hinge/ Of skin,/ A flap like a hat,/ Dead white. Then that red plush.’ Those who imagined that Sylvia Plath (‘Cut’, 1962) had achieved unassailable aesthetic peaks in fusing pain - mental and physical - with beauty, might think again after seeing and hearing this, the third, collaboration between composer George Benjamin and dramatist/librettist Martin Crimp: Lessons in Love and Violence.

Grands motets de Lalande

Majesté, a new recording by Le Poème Harmonique, led by Vincent Dumestre, of music by Michel-Richard de Lalande (1657-1726) new from Alpha Classics. Le Poème Harmonique are regular visitors to London, appreciated for the variety of their programes. On Friday this week, (11/5) they'll be at St John's Smith Square as part of the London Festival of Baroque, with a programme titled "At the World's Courts".

Perpetual Night - Early English Baroque, Ensemble Correspondances

New from Harmonia Mundi, Perpetual Night. a superb recording of ayres and songs from the 17th century, by Ensemble Correspondances with Sébastien Daucé and Lucile Richardot. Ensemble Correspondances are among the foremost exponents of the music of Versailles and the French royalty, so it's good to hear them turn to the music of the Stuart court.

Les Salons de Pauline Viardot: Sabine Devieilhe at Wigmore Hall

Always in demand on French and international stages, the French soprano Sabine Devieihle is, fortunately, becoming an increasingly frequent visitor to these shores. Her first appearance at Wigmore Hall was last month’s performance of works by Handel with Emmanuelle Haïm’s Le Concert d’Astrée. This lunchtime recital, reflecting the meetings of music and minds which took place at Parisian salon of the nineteenth-century mezzo-soprano Pauline Viardot (1821-1910), was her solo debut at the venue.

Jesus Christ Superstar at Lyric Opera of Chicago

Lyric Opera of Chicago is now featuring as its spring musical Jesus Christ Superstar with music and lyrics by Andrew Lloyd Webber and Tim Rice. The production originated with the Regent’s Park Theatre, London with additional scenery by Bay Productions, U.K. and Commercial Silk International.

Persephone glows with life in Seattle

As a figure in the history of 20th century art, few deserve to be closer to center stage than Ida Rubenbstein. Without her talent, determination, and vast wealth, Ravel’s Boléro, Debussy’s Martyrdom of St. Sebastien, Honegger’s Joan of Arc at the Stake, and Stravinsky’s Perséphone would not exist.

La concordia de’ pianeti: Imperial flattery set to Baroque splendor in Amsterdam

One trusts the banquet following the world premiere of La concordia de’ pianeti proffered some spicy flavors, because Pietro Pariati’s text is so cloying it causes violent stomach-churning. In contrast, Antonio Caldara’s music sparkles and dances like a blaze of crystal chandeliers.

Kathleen Ferrier Awards Final 2018

The 63rd Competition for the Kathleen Ferrier Awards 2018 was an unusually ‘home-grown’ affair. Last year’s Final had brought together singers from the UK, the Commonwealth, Europe, the US and beyond, but the six young singers assembled at Wigmore Hall on Friday evening all originated from the UK.

Affecting and Effective Traviata in San Jose

Opera San Jose capped its consistently enjoyable, artistically accomplished 2017-2018 season with a dramatically thoughtful, musically sound rendition of Verdi’s immortal La traviata.

Brahms Liederabend

At his best, Matthias Goerne does serious (ernst) at least as well as anyone else. He may not be everyone’s first choice as Papageno, although what he brings to the role is compelling indeed, quite different from the blithe clowning of some, arguably much closer to its fundamental sadness. (Is that not, after all, what clowns are about?) Yet, individual taste aside, whom would one choose before him to sing Brahms, let alone the Four Serious Songs?

Angel Blue in La Traviata

One of the most beloved operas of all time, Verdi’s “ La Traviata” has never lost its enduring appeal as a tragic tale of love and loss, as potent today as it was during its Venice premiere in 1853.

OPERA TODAY ARCHIVES »

Reviews

16 Nov 2016

Soldier Songs in San Diego

David Little composed his one-man opera, Soldier Songs, ten years ago and the International Festival of Arts & Ideas of New Haven, Connecticut, premiered it in 2011. At San Diego Opera, the fifty-five minute musical presentation and the “Talk Back” that followed it were part of the Shiley dētour Series which is held in the company’s smaller venue, the historic Balboa Theatre.

San Diego Opera's Shiley dētour Series presents Soldier Songs

A review by Maria Nockin

Above: Baritone David Adam Moore is the Soldier [Photo courtesy of San Diego Opera, copyright Karli Cadel]

 

Upon entering the theater, the audience was greeted by low rumbling sounds that erupted into soft-edged explosions every few minutes. It was somewhat unnerving as it continued unabated until the presentation began, but the idea was to give the incoming audience a tiny taste of what it is like to be in a war zone. The mood didn’t get any lighter when Director Tomer Zvulun and design group GLMMR began to show a verismo version of the three stages of a soldier’s life.

In Stage One, the child, acted by Ryan Singer, plays with guns and video games. He enjoys chasing other children with guns. Children chant slogans about killing people with strange clothes and funny names. Video games simulate war and the child onstage thinks going to war is very much like playing a video game. The finality of death has completely escaped the youngster.

In Stage two, the child has grown up and enlisted in the military. Played by David Adam Moore, the Soldier sang with strong virile tones and excellent diction. In this presentation all the music was amplified in Garth MacAleavey’s sound design. There were titles in case anyone missed a word, but they were not altogether necessary.

After enlisting, the Soldier learned some hard truths: Getting shot hurts and soldiers actually die in combat. Casualties of war don’t get up and go home in the way that those shot down in video games or children’s stories do. Only when the soldier saw a mutilated body lying on the ground before him, did he begin to understand what war could do to the warrior. Then, he began to realize that he might be maimed and return home disabled or that he might lose his life and return in a coffin.

In Stage Three, actor Dan Denison showed the audience some of the thoughts of veterans who were lucky enough to have returned home. Contemplating what soldiering had done to them, they found they had trouble talking about their overseas experiences with people who had not been to war. Later, members of the "Talk Back" Panel noted that some veterans have had more trouble reintegrating into American society than others. Unfortunately, returnees who need psychological services may be embarrassed to ask for them. It’s sad to see that some veterans do not learn to cope with life in the United States and end up homeless.

The woman veteran on the "Talk Back" Panel said rejoining normal life in the States was harder for women because military trainers negated much of what girls had been taught growing up. As a child, she had been taught to nurture but as an adult she had learned to join in doing harm. Coming home she was again expected to be nurturing rather than aggressive, and it did not come easily. In business, for example, we expect men to be much more aggressive than women.

In Soldier Songs David Little combined the sounds of far off artillery and percussion with flute, violin, cello, clarinet, and piano. Conductor Steven Schick, a renowned percussionist, is well known for his performances of contemporary music. He paid a great deal of attention to detail and gave an impressive rendition of this unusual score.

Soldier Songs is not for the faint of heart. It takes the audience into war-like situations and shows the average American who has never seen a war zone what some soldiers have to endure. It also points out the lack of understanding many parents and children have regarding the difference between playing violent games and actual violence. High school youngsters, in particular, need to know what the dangers of war are for those who join the military. I think performances of Soldier Songs in San Diego did a great deal to bridge the gaps between soldier, veteran, and civilian.

Maria Nockin


Cast and production information:

Cast and Production Information:

Soldier, David Adam Moore; Child, Ryan Singer; Elder Man, Dan Denison; Conductor, Steven Schick; Director Tomer Zvulun; Production Design, GLMMR: David Adam Moore, Victoria “Vita” Tzykun; Lighting Designer, Maxwell Bowman; Sound Designer, Garth MacAleavey; Supertitles Coordinator, Charles Arthur; San Diego Symphony: Violin, Wesley Precourt; Cello, Chia-Ling Chien; Flute, Erica Peel; Clarinet, Frank Renk; Percussion, Erin Douglas Dowrey and Andrew Watkins; Piano M. Barranger.

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):