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

La forza del destino at Covent Garden

Prima la music, poi la parole? It’s the perennial operatic conundrum which has exercised composers from Monteverdi, to Salieri, to Strauss. But, on this occasion we were reminded that sometimes the answer is a simple one: Non, prima le voci!

Barbara Hannigan sings Berg and Gershwin at the Barbican Hall

I first heard Barbara Hannigan in 2008.

New perceptions: a Royal Academy Opera double bill

‘Once upon a time …’ So fairy-tales begin, although often they don’t conclude with a ‘happy ever after’. Certainly, both Tchaikovsky’s Iolanta and Ravel’s L’enfant et les sortilèges, paired in this Royal Academy Opera double bill, might be said to present transformations from innocence and ignorance to experience and knowledge, but there is little that is saccharine about their protagonists’ journeys from darkness to enlightenment.

Desert Island Delights at the RCM: Offenbach's Robinson Crusoe

Britannia waives the rules: The EU Brexit in quotes’. Such was the headline of a BBC News feature on 28th June 2016. And, nearly three years later, those who watch the runaway Brexit-train hurtle ever nearer to the edge of Dover’s white cliffs might be tempted by the thought of leaving this sceptred (sceptic?) isle, for a life overseas.

Akira Nishimura’s Asters: A Major New Japanese Opera

Opened as recently as 1997, the Opera House of the New National Theatre Tokyo (NNTT) is one of the newest such venues among the world’s great capitals, but, with ten productions of opera a year, ranging from baroque to contemporary, this publicly-owned and run theatre seems determined to make an international impact.

The Outcast in Hamburg

It is a “a musicstallation-theater with video” that had its world premiere at the Mannheim Opera in 2012, revived just now in a new version by Vienna’s ORF Radio-Symphonieorchester Wein for one performance at the Vienna Konzerthaus and one performance in Hamburg’s magnificent Elbphilharmonie (above). Olga Neuwirth’s The Outcast and this rich city are imperfect bedfellows!

Leonard Bernstein: Tristan und Isolde in Munich on Blu-ray

Although Birgit Nilsson, one of the great Isolde’s, wrote with evident fondness – and some wit – of Leonard Bernstein in her autobiography – “unfortunately, he burned the candles at both ends” – their paths rarely crossed musically. There’s a live Fidelio from March 1970, done in Italy, but almost nothing else is preserved on disc.

Monarchs corrupted and tormented: ETO’s Idomeneo and Macbeth at the Hackney Empire

Promises made to placate a foe in the face of imminent crisis are not always the most well-considered and have a way of coming back to bite one - as our current Prime Minister is finding to her cost.

Der Fliegende Holländer and
Tannhäuser in Dresden

To remind you that Wagner’s Dutchman had its premiere in Dresden’s Altes Hoftheater in 1843 and his Tannhauser premiered in this same theater in 1845 (not to forget that Rienzi premiered in this Saxon court theater in 1842).

WNO's The Magic Flute at the Birmingham Hippodrome

A perfect blue sky dotted with perfect white clouds. Identikit men in bowler hats clutching orange umbrellas. Floating cyclists. Ferocious crustaceans.

Puccini’s Messa di Gloria: Antonio Pappano and the London Symphony Orchestra

This was an oddly fascinating concert - though, I’m afraid, for quite the wrong reasons (though this depends on your point of view). As a vehicle for the sound, and playing, of the London Symphony Orchestra it was a notable triumph - they were not so much luxurious - rather a hedonistic and decadent delight; but as a study into three composers, who wrote so convincingly for opera, and taken somewhat out of their comfort zone, it was not a resounding success.

WNO's Un ballo in maschera at Birmingham's Hippodrome

David Pountney and his design team - Raimund Bauer (sets), Marie-Jeanne Lecca (costumes), Fabrice Kebour (lighting) - have clearly ‘had a ball’ in mounting this Un ballo in maschera, the second part of WNO’s Verdi trilogy and which forms part of a spring season focusing on what Pountney describes as the “profound and mysterious issue of Monarchy”.

Super #Superflute in North Hollywood

Pacific Opera Project’s rollicking new take on The Magic Flute is as much endearing fun as a box full of puppies.

Leading Ladies: Barbara Strozzi and Amiche

I couldn’t help wondering; would a chamber concert of vocal music by female composers of the 17th century be able sustain our concentration for 90 minutes? Wouldn’t most of us be feeling more dutiful than exhilarated by the end?

George Benjamin’s Into the Little Hill at Wigmore Hall

This week, the Wigmore Hall presents two concerts from George Benjamin and Frankfurt’s Ensemble Modern, the first ‘at home’ on Wigmore Street, the second moving north to Camden’s Roundhouse. For the first, we heard Benjamin’s now classic first opera, Into the Little Hill, prefaced by three ensemble works by Cathy Milliken, Christian Mason, and, for the evening’s spot of ‘early music’, Luigi Dallapiccola.

Marianne Crebassa sings Berio and Ravel: Philharmonia Orchestra with Salonen

It was once said of Cathy Berberian, the muse for whom Luciano Berio wrote his Folk Songs, that her voice had such range she could sing the roles of both Tristan and Isolde. Much less flatteringly, was my music teacher’s description of her sound as akin to a “chisel being scraped over sandpaper”.

Rossini's Elizabeth I: English Touring Opera start their 2019 spring tour

What was it with Italian bel canto and the Elizabethan age? The era’s beautiful, doomed queens and swash-buckling courtiers seem to have held a strange fascination for nineteenth-century Italians.

Chameleonic new opera featuring Caruso in Amsterdam

Micha Hamel’s new opera, Caruso a Cuba, is constantly on the move. The chameleonic score takes on a myriad flavours, all with a strong sense of mood or place.

Ernst Krenek: Karl V, Bayerisches Staatsoper

Ernst Krenek’s Karl V op 73 at the Bayerisches Staatsoper, with Bo Skovhus, conducted by Erik Nielsen, in a performance that reveals the genius of Krenek’s masterpiece. Contemporary with Schreker’s Die Gezeichneten, Schoenberg’s Moses und Aron, Berg’s Lulu, and Hindemith’s Mathis der Maler, Krenek’s Karl V is a metaphysical drama, exploring psychological territory with the possibilities opened by new musical form.

A Sparkling Merry Widow at ENO

A small, formerly great, kingdom, is on the verge of bankruptcy and desperate to prevent its ‘assets’ from slipping into foreign hands. Sexual and political intrigues are bluntly exposed. The princes and patriarchs are under threat from both the ‘paupers’ and the ‘princesses’, and the two dangers merge in the glamorous figure of the irresistibly wealthy Pontevedrin beauty, Hanna Glawari, a working-class girl who’s married up and made good.

OPERA TODAY ARCHIVES »

Reviews

Prom 49: Dunedin Consort - J.S. Bach’s <em>St John Passion</em>
21 Aug 2017

Dunedin Consort perform Bach's St John Passion at the Proms

John Butt and the Dunedin Consort's 2012 recording of Bach's St John Passion was ground-breaking for it putting the passion into the context of a reconstruction of the original Lutheran Vespers service.

Prom 49: Dunedin Consort - J.S. Bach’s St John Passion

A review by Robert Hugill

Above: John Butt directs the Dunedin Consort in a liturgical reconstruction of J.S. Bach’s St John Passion

Photo credit: Chris Christodoulou

 

For the climax of the BBC Proms celebration of the 500th anniversary of the Reformation, Butt and the Dunedin Consort performed Bach's St John Passion at the Royal Albert Hall in the context of Lutheran Vespers, with organist Stephen Farr performing chorale preludes by Bach and Buxtehude on the Royal Albert Hall Organ, and the audience being encouraged to join in the congregational chorales. The passion was performed by Nicholas Mulroy (Evangelist), Matthew Brook (Jesus), with Sophie Bevan, Tim Mead, Andrew Tortise, Konstantin Wolff and Robert Davies.

But if we were expecting the same stripped down approach to the passion that John Butt uses on the recording, then we were in for a bit disappointment. Part of Butt's ethos when recording Bach is not only textual fidelity, but research into the original performance traditions. This meant that the CD re-created the Lutheran liturgy for Good Friday Vespers, and used a total of ten singers to perform all the solos and the choruses, with a similarly small instrumental ensemble. At the Royal Albert Hall, Butt had a professional choir of 36 and an orchestra with based around 33 strings.

Thankfully, the performance from Nicholas Mulroy as the Evangelist showed that you did not need large forces to fill the Royal Albert Hall. Mulroy was riveting, easily communicating music and text, and singing largely from memory, this was spine-tingling narration. Mulroy is a highly involved and vivid performer, bringing out the extremes of the passion story, and imbuing the music with a remarkable range of colour. But, as with every good Evangelist, it was the text which really counted and Mulroy's level of involvement and projection made a gripping evening.

Mulroy was matched by the dignified Jesus of Matthew Brook, who similarly used the words to devastating effect and somehow conveyed that he really did mean it. He sang with a trenchant firmness of line, and rather than being other-worldly was wonderfully human.

Nicholas Mulroy performs the role of the Evangelist in J.S. Bach’s St John Passion.jpg Nicholas Mulroy performs the role of the Evangelist in J.S. Bach’s St John Passion. Photo credit: Chris Christodoulou.

The other soloists did not always achieve the same degree of communicability, though it has to be admitted that singing Baroque music in the wide open spaces of the Royal Albert Hall is rather a fine art. Sophie Bevan was a beautifully focussed soprano soloist. ‘Ich folge dir gleichfalls’ was sung with a lovely sense of joy, and some fine passagework, whilst Bevan was partnered by the magical sound of four baroque flutes. In ‘Zerfliesse, mein Herze’ she found a real vein of expressive purity.

Tim Mead was poised and expressive in ‘Von den Stricken meiner Sünden’, though perhaps a little too controlled, and he was partnered by some very fine oboe playing indeed. In ‘Es is vollbracht’ he was movingly expressive, and in contrast to many of the fleet speeds in other movements here John Butt allowed the movement to unfold in its own time, with vivid contrasts in the middle section.

Andrew Tortise made ‘Ach, mein Sinn’ quite dramatic and rather vivid. ‘Erwäge, wie sein blutgefärbeter Rücken’ was beautifully considered and expressive, but seemed to lack the ultimate emotional punch needed. Here Tortise was partnered by the lovely sound of a pair of muted violins, whilst in ‘Mein Herz, indem die ganze Welt’, Tortise's fine performance was somewhat overshadowed by the vivid playing of the orchestral violins

Bass soloist Konstantin Wolff was nicely correct in his arias, singing with fine control and nice sense of line but he seemed not to be able to project the underlying emotions across the Albert Hall's large spaces, this was a rather more intimate performance. In ‘Mein teurer Heiland’ the balance with the chorus was not always ideal. Baritone Robert Davies sang Pilate with fine musicality but with a rather muted sense of the drama.

The chorus might, perhaps, have been larger than I was hoping for but musically they certainly did not disappoint. Butt's speeds throughout were often fleet, and his singers followed him admirably and produced a series of vivid and moving performances. The great opening and closing choruses were both kept moving, yet without skating over the surface so that the deep emotions of the music was conveyed too. In the turbae, the singing was fast, furious and wonderfully vivid.

The large orchestra was similarly impressive, not just in the myriad solo moments that Bach provides, but in the degree of expressivity found in the general run of the music.

The soloists sang in the opening and closing choruses and chorales, which is just as it should be and made the piece feel much more like a communal expression. The extracts of the vespers service provided a remarkable piece of context. The reconstruction is, to a certain extent, speculative but informative nonetheless. The way the Bach and Buxtehude organ chorale preludes flowed seamless from the chorales on which they were based, sung lustily in unaccompanied unison by the Prom audience, gave a vivid impression of the importance of context in this work. After the end of the passion, we flowed directly in Jacob Handl's funeral motet, and then on to the blessing, and a final pairing of chorale prelude and chorale.

In the programme booklet, John Butt talked about the important hierarchy of the different levels of singing in the church in Bach's day, from the congregation's chorales through the more sophisticated Renaissance-style motet singing (done with several singers to a part) to the more soloistic performance of Bach's own music, performed by very few singers. But this was something we rather missed in this performance which allied itself to modern choral traditions of performance. In terms of balance there was the usual problem of 'can you hear the oboes?'. In the livelier choral moments, we heard very much a choir and strings with both the oboes and the chamber organ rather disappearing into the texture.

It is unfair of a listener to expect a performance to re-create exactly the effect of a particular recording, but I could not help feeling that this performance of the St John Passion was a missed opportunity in a number of ways. The long running time (nearly three hours) and late start time meant that audience members were leaving before the end, and you wished that an afternoon slot could have been found for the event. That someone did not believe that a stripped down performance with just 10 singers could fill the Royal Albert Hall was a shame, Nicholas Mulroy showed how it could be done.

The performance is available on BBC iPlayer for 30 days.

Robert Hugill

J.S. Bach: St John Passion (performed within a reconstruction of the Leipzig liturgy for Good Friday Vespers)

Evangelist - Nicholas Mulroy (tenor), Jesus - Matthew Brook (bass), Sophie Bevan (soprano), Tim Mead (alto), Andrew Tortise (tenor), Konstantin Wolff (bass), Dunedin Consort, John Butt (director)

BBC Proms at the Royal Albert Hall, London; Sunday 20th August 2017.

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):