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

MOZART 250: the year 1767

Classical Opera’s MOZART 250 project has reached the year 1767. Two years ago, the company embarked upon an epic, 27-year exploration of the music written by Mozart and his contemporaries exactly 250 years previously. The series will incorporate 250th anniversary performances of all Mozart’s important compositions and artistic director Ian Page tells us that as 1767 ‘was the year in which Mozart started to write more substantial works - opera, oratorio, concertos … this will be the first year of MOZART 250 in which Mozart’s own music dominates the programme’.

Monteverdi, Masters and Poets - Imitation and Emulation

‘[T]hey moderated or increased their voices, loud or soft, heavy or light according to the demands of the piece they were singing; now slowing, breaking of sometimes with a gentle sigh, now singing long passages legato or detached, now groups, now leaps, now with long trills, now with short, or again, with sweet running passages sung softly, to which one sometimes heard an echo answer unexpectedly. They accompanied the music and the sentiment with appropriate facial expressions, glances and gestures, with no awkward movements of the mouth or hands or body which might not express the feelings of the song. They made the words clear in such a way that one could hear even the last syllable of every word, which was never interrupted or suppressed by passages or other embellishments.’

Visionary Wagner - The Flying Dutchman, Finnish National Opera

An exceptional Wagner Der fliegende Holländer, so challenging that, at first, it seems shocking. But Kasper Holten's new production, currently at the Finnish National Opera, is also exceptionally intelligent.

Don Quichotte at Chicago Lyric

A welcome addition to Lyric Opera of Chicago’s roster was its recent production of Jules Massenet’s Don Quichotte.

Written on Skin: Royal Opera House

800 years ago, every book was a precious treasure - ‘written on skin’. In George Benjamin’s and Martin Crimp’s 2012 opera, Written on Skin, modern-day archivists search for one such artefact: a legendary 12th-century illustrated vanity project, commissioned by an unnamed Protector to record and celebrate his power.

Madama Butterfly at Staatsoper im Schiller Theater

It was like a “Date Night” at Staatsoper unter den Linden with its return of Eike Gramss’ 2012 production of Puccini’s Madama Butterfly. While I entered the Schiller Theater, the many young couples venturing to the opera together, and emerging afterwards all lovey-dovey and moved by Puccini’s melodramatic romance, encouraged me to think more positively about the future of opera.

It’s the end of the world as we know it: Hannigan & Rattle sing of Death

For the Late Night concert after the Saturday series, fifteen Berliners backed up Barbara Hannigan in yet another adventurous collaboration on a modern rarity with Simon Rattle. I was completely unfamiliar with the French composer, but the performance tonight made me fall in love with Gérard Grisey’s sensually disintegrating soundscape Quatre chants pour franchir le seuil, or “Fours Songs to cross the Threshold”.

A Vocally Extravagant Saturday Night with Berliner Philharmoniker

One of the things I love about the Philharmonie in Berlin, is the normalcy of musical excellence week after week. Very few venues can pull off with such illuminating star wattage. Michael Schade, Anne Schwanewilms, and Barbara Hannigan performed in two concerts with two larger-than-life conductors Thielemann and Rattle. We were taken on three thrilling adventures.

Les Troyens at Lyric Opera of Chicago

Lyric Opera of Chicago’s original and superbly cast production of Hector Berlioz’s Les Troyens has provided the musical public with a treasured opportunity to appreciate one of the great operatic achievements of the nineteenth century.

Merry Christmas, Stephen Leacock

The Little Opera Company opened its 21st season by championing its own, as it presented the world premiere of Winnipeg composer Neil Weisensel’s Merry Christmas, Stephen Leacock.

Bampton Classical Opera 2017

In 2015, Bampton Classical Opera’s production of Salieri’s La grotta di Trofonio - a UK premiere - received well-deserved accolades: ‘a revelation ... the music is magnificent’ (Seen and Heard International), ‘giddily exciting, propelled by wit, charm and bags of joy’ (The Spectator), ‘lively, inventive ... a joy from start to finish’ (The Oxford Times), ‘They have done Salieri proud’ (The Arts Desk) and ‘an enthusiastic performance of riotously spirited music’ (Opera Britannia) were just some of the superlative compliments festooned by the critical press.

The nature of narropera?

How many singers does it take to make an opera? There are single-role operas - Schönberg’s Erwartung (1924) and Eight Songs for a Mad King by Peter Maxwell Davies (1969) spring immediately to mind - and there are operas that just require a pair of performers, such as Rimsky-Korsakov’s Mozart i Salieri (1897) or The Telephone by Menotti (1947).

A Christmas Festival: La Nuova Musica at St John's Smith Square

Now in its 31st year, the 2016 Christmas Festival at St John’s Smith Square has offered sixteen concerts performed by diverse ensembles, among them: the choirs of King’s College, London and Merton College, Oxford; Christchurch Cathedral Choir, Oxford; The Gesualdo Six; The Cardinall’s Musick; The Tallis Scholars; the choirs of Trinity College and Clare College, Cambridge; Tenebrae; Polyphony and the Orchestra of the Age of the Enlightment.

Fleming's Farewell to London: Der Rosenkavalier at the ROH

As 2016 draws to a close, we stand on the cusp of a post-Europe, pre-Trump world. Perhaps we will look back on current times with the nostalgic romanticism of Richard Strauss’s 1911 paean to past glories, comforts and certainties: Der Rosenkavalier.

Loft Opera’s Macbeth: Go for the Singing, Not the Experience

Ah, Loft Opera. It’s part of the experience to wander down many dark streets, confused and lost, in a part of Brooklyn you’ve never been. It is that exclusive—you can’t even find the performance!

A clipped Walküre in Amsterdam

Let’s start by getting a couple of gripes out of the way. First, the final act of Die Walküre does not constitute a full-length concert, even with a distinguished cast and orchestra, and with animated drawings fluttering on a giant screen.

A Leonard Bernstein Delight

When you combine two charismatic New York stage divas with the artistry of Los Angeles Opera, you have a mix that explodes into singing, dancing and an evening of superb entertainment.

An English Winter Journey

Roderick Williams’ and Julius Drake’s English Winter Journey seems such a perfect concept that one wonders why no one had previously thought of compiling a sequence of 24 songs by English composers to mirror, complement and discourse with Schubert’s song-cycle of love and loss.

History Repeating Itself: Prokofiev’s Semyon Kotko, Amsterdam Concertgebouw

A historical afternoon at the NTR Saturday Matinee occurred with an epic concert version of Prokofiev’s Soviet Opera Semyon Kotko.

L’amour de loin at the Metropolitan Opera

Opening night at the Metropolitan is a gleeful occasion even when the composer is long gone, but December 1st was an opening for a living composer who has been making waves around the world and is, gasp, a woman — the second woman composer ever to have an opera presented at the Met.

OPERA TODAY ARCHIVES »

Reviews

03 Dec 2016

Lost Stravinsky re-united with Rimsky-Korsakov, Gergiev, Mariinsky

Igor Stravinsky's lost Funeral Song, (Chante funèbre) op 5 conducted by Valery Gergiev at the Mariinsky in St Petersburg This extraordinary performance was infinitely more than an ordinary concert, even for a world premiere of an unknown work.

Nicolai Rimsky-Korskaov : Suite from the Legend of the Invisible City of Kitezh, Igor Stravinsky : Funeral Song, The Firebird. Valergy Gergiev, Orchestra of the Mariinsky Theatre, St Petersburg, 2nd December 2016, broadcast on medici.tv

A review by Anne Ozorio

 

This was a sanctification of the city of St Petersburg itself and its role in shaping modern music. Hence the speeches on the broadcast, and the sincere emotion shown on the faces of the musicians of the Mariinsky Orchestra as they listened. A male wind player's lower lip wobbled. A harpist leaned her head on her instrument, to hide genuine tears. We don't often see hard-boiled professionals like that, but the sense of occasion must have been overwhelming.

Stravinsky's Funeral Song was written when Stravinsky heard the news of the death of Nicolai Rimsky-Korsakov in June 1908. Rimsky-Korsakov was Stravinsky's teacher, mentor and close friend: the sorrow Stravinsky must have felt was channelled into the piece, completed in a very short period, and premiered in January 1909. Akthough Stravinsky remebered it fondly, the manuscript was thought lost, until, by chance, renovations to the Mariiinsky's old building in 2014 revealed a cache of uncatalogued papers which included 83 orchestral parts used in the first (and only) performance. Read Stephen Walsh's account of the discovery here and listen to Natalya Braginskaya before th broadcast). The parts had lain, unnoticed through the Revolution, after which the city was renamed Leningrad, and subject to one of the most brutal sieges in modern history. Stravinsky's Funeral Song survived the Tsars, the Nazis and the collapse of Communism: Stravinsky's modernism wasn't popular with Stalin. By honouring Stravinsky and Rimsky-Korsakov together in this way, Gergiev, the Mariinsky and the city of St Petersburg are making a powerful statement, Effectively, the concert was a huge tone poem, linking two operas with one ballet, which changed the course of music history.

Stravinsky's Funeral Song (Chante funèbre) begins with ominous dark chords. It's a slow march, the gloom lit with rustling strings and figures that seem to leap sharply upwards in protest against the gloom. A solo French horn outlines a melody. The full orchestra joins in, and the music rises almost to crescendo before falling back. Prostrate, but not defeated. The strings surge and a group of horns take up momentum. A hushed, mysterious near silence, bassoons, double basses, and full flow is restored. The timpani rumble, and strange lingering chords repeat. Intense anguish, then a very short return to peace, of a kind, with the harps and low winds murmuring.

Though Stravinsky's Funeral Song is short, it's very rich. Stravinsky's clearly thinking of Rimsky-Korsakov's great orchestral dramas. Thoughtfully, Gergiev preceded it with the Suite from Rimsky-Korsakov's The Legend of the Invisible City of Kitezh and the Maiden Fevroniya , which premiered in the Mariinsky in February 1907, with the same conductor who did the Funeral Song two years later . The Legend of the Invisible City of Kitezh and the Maiden Fevroniya is an astonishing piece, illuminated with intense colours and vivid imagery. It describes an idealized city in Old Russia, which, when attacked by the Tatars, is saved by a mystery fog which makes it invisible, though its bells, prancing horses and pipes can be heard, tantalizingly, in the distance above the lakes and forests. Do we hear Kitezh in the last, lingering chords of the Funeral Song? The piece is something of a Gergiev trademark, for he's championed it passionately for years. It was a sensational hit when he conducted it in London in 1994. You need the full work for maximum impact, but in this concert, the Suite worked fine, and the performance was intensely moving.

Think on the swirling, lustrous motifs that depict the magic fog that conceals the Invisible City. then think of Stravinsky's The Firebird, which premiered in Paris in June 1910. In The Firebird, Stravinsky quotes Rimsky-Korsakov's Kashchey the Immortal (1902) which premiered in St Petersburg in 1905. Indeed The Firebird incorporates two separate legends into one ballet with great effect. In Rimsky-Korsakov, Kashchey an ugly monster has a daughter who holds the secret to his death. She’s just as cold as he is but she falls in love. Kashchey’s music is shrilly angular, evoking his harsh personality as well as the traditional way he’s portrayed, as a skeleton, the symbol of death who cannot actually die. The Storm Knight, on whom the plot pivots, is defined by the wild ostinato. The most inventive music, though, surrounds Kashchey's daughter Kashcheyvna. When she sings, there are echoes of Kundry. Harps and woodwinds seem to caress her voice, so when her iciness melts, we sympathize.

Stravinsky's Firebird inhabits an altogether different plane. While Rimsky-Korsakov’s music embellishes the vocal line, Stravinsky’s floats free. It “is” the drama. Music for dance has to respect certain restraints, so it’s necessarily quite episodic, but Stravinsky integrates the 21 segments so seamlessly that the piece has lived on, immortal. The Firebird is a magical figure which materializes out of the air, leading the Prince to Kashchey’s secret garden. Unlike the ogre, the Prince is kind and sets the bird free. He’s rewarded with a magic feather. This time the Princess and other captives are liberated by altruistic love. It’s purer and more esoteric, and Stravinsky’s music is altogether more abstract, imaginative and inventive. Yet again, the "characters" are defined by music. The solo part for horn, for example, plays a role in the music like that of a solo dancer. Textures around it need to be clean as they were here, so its beauty is revealed with poignant dignity.

Although Gergiev has conducted The Firebird so often he could almost do it on autopilot, on this occasion his focus was so intense that the performance was extraordinary. When Gergiev is this good, he's better than anyone else. Absolute finesse, the Mariinsky playing barely above the point of audibility, but with magical lustre, then exploding into the wild, demonic passages with the energy and precision of a corps de ballet. Mournful bassoons, exotic clarinets, celli and basses plucked pizzicato like a choir singing vocalise. Once again, we're in a magical dimension like the fog that lifted Kitezh beyond mortal ken. The "Firebird" theme returned, richer and deeper than before, but how does the piece end ? With strong, emphatic chords repeated again and again. Like in the Funeral Song, like The Legend of the Invisible City of Kitezh. Presenting the three pieces together almost seamlessly, Gergiev revealed their connections, and the inner artistic logic that linked the two composers together. An outstanding experience. Enjoy and marvel : the concert is available on demand for a limited period on medici tv.

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):