Sunday, April 27, 2008
For those of us who believe opera to be the greatest of all art forms, the premiere of a full scale new work is an important and exciting event. Before going to see "The Minotaur" I knew little of Harrison Birtwistle's music and had seen none of his previous seven operas.
The libretto is by David Harsent, a regular collaborator of Birtwistle's, and follows closely the mythical story of the Minotaur, the half-man-half-bull trapped in the labyrinth. The libretto was skillfully constructed and well written, although the first half was a bit too long with rather too much hand-wringing from Ariadne and not just one but two horrific encounters between the Minotaur and the 'Innocents'. The second half flashed by.
The music at times was very violent but there were also moments of repose and lyricism. The dramatic music was enormously effective. The vocal lines were less jagged than I had expected and there some good themes: the saxophone associated with Ariadne being the most obvious. The best way I could describe the music is as 'aggravated Benjamin Britten'; indeed there was more than a whiff of "Peter Grimes" about the whole piece, complete with orchestral interludes.
The title role was created for John Tomlinson and he gave a superb performance. When in public, goaded and encouraged to cruelty by the masked chorus, the Minotaur can only roar, but when alone he articulates his frustrations and feelings. Every word and feeling in Tomlinson's performance was clear and it was both impressive and moving.
High vocal honours were taken also by Christine Rice as Ariadne, the longest part in the opera. John Reuter was fine as Theseus and there was a great double act from Andrew Watts and Philip Langridge as the Snake Priestess and her assistant. The Keres, who sweep onto stage to remove the hearts of the Minotaur's victims made a terrific Valkyrie-like effect vocally and dramatically. There was an outstanding performance from Amanda Echalaz as the chief Ker . Birtwistle had provided her with a bravura line, which she executed with considerable vocal fire power. This was her debut with the Royal opera and I hope to see and hear more of her.
There was excellent singing from the chorus and a spell-binding performance of this huge and complex score from the orchestra. Antonio Pappano demonstrated yet again what a brilliant and eclectic operatic conductor he is. How lucky we are to have him at Covent Garden.
The production by Stephen Langridge was straight forward and served the opera well.
A work that was certainly worthy of the full resources of the Royal Opera House and one that I am sure should be able to hold its place in the modern repertoire.
Wednesday, April 23, 2008
The Sixteen in Durham
Durham Cathedral was the glorious setting for this visit of The Sixteen on their Choral Pilgrimage 2008 with the title "Treasures of Tudor England". And the treasures were works by sixteenth century English polyphonists Robert Parsons, Christopher Tye and Robert White.
I especially enjoyed Parsons's "O bone Jesu" which opened the second half of the concert and White's setting of the Vespers hymn "Christe qui lux es et dies", with polyphonic verses alternating with the Chant.
Although the choir's numbers had been enhanced to 29, the Cathedral is a vast space to fill but their accuracy, precision and firmness of tone ensured an always impressive sound.
As so often with concerts of this type of music, non-stop polyphony can get rather wearing on the ear. The opening chant verse of the Compline hymn was like a breath of fresh air. And much as I admired and enjoyed the performance I think that music of this type does really cry out for some sort of context. I missed the smell of burning candle wax, the whiff of incense, the chink of the thurible and the rustle of fine vestments...
Sunday, April 13, 2008
A Weekend in Leeds
I had to be in Leeds for work on Friday so I thought I would stay over and take in a bit of Leeds culture.
Friday night was Phoenix Dance Theatre's "Cattle Call" at the West Yorkshire Playhouse. I have seen Phoenix before and been impressed by their work but this was dreadful. The cast consisted of two women in "Tosca" frocks and a few men and women in warm-up clothes. The action was them standing up , sitting down and moving chairs around the stage. Occasionally there were confrontations over a microphone and fights broke out. The music was dominated by the singing of the two Toscas (if it was indeed them we were hearing) who had harsh ugly voices. All the music was amplified to painful levels. "The Times" on Saturday rated this as the number one dance event for the week. I thought it was rubbish.
Leeds Town Hall is a very impressive building, which I last entered when it was used as a court many years ago. The building is in the classical/baroque style, rectangular in shape, with two storeys over a basement. Once you have ascended the grand flight of stone stairs at the front, the entrance opens into a vestibule, with a domed ceiling. The floor is inlaid with tiles said to be similar to the tiles used in the Senate House in Washington. At the centre of the ground floor is the Victoria Hall, 92 feet high, 161 feet long, and 72 feet wide and with concert seating for 1500 people. The sides of the Victoria hall are divided into five bays by Corinthian columns which were decorated in imitation of Rosso-Antico marble with capitals gilded in bronze and gold. The circular roof is divided into five sections supported by the columns. Behind the plasterwork the roof is supported by laminated wood beams arranged in pairs; the only other buildings in this country to have this design were the Crystal Palace and King's Cross Station. Both the walls and ceiling are decorated with elaborate plasterwork. At each end of the hall and around the walls are various inscriptions, some in Latin and some in English, picked out in gold.
This lavish hall is the venue for the Leeds International Orchestral Season and on Saturday evening the orchestra of Opera North took the stage, conducted by Frederic Chaslin. The concert opened with Shostakovich's Festive Overture. This gave me a chance to assess the hall's acoustic, which is full and resonant, although with a tendency to be a bit 'churchy'.
The main piece in the first half of the concert was Chopin's Piano Concerto. This is sometimes criticised for its slightly perfunctory orchestral parts but I think that Chopin did not view a concerto as a battle ground between soloist and orchestra but rather as a piece for piano supported by orchestra. And so it was on Saturday. The soloist was Evgenia Rubinova (a former silver medallist in the Leeds Piano Competition) and she was excellent, revelling in the wonderful elegance of this concerto.
The second half of the concert was Prokofiev's fifth symphony. This was the first time I had heard this but it completely justified the programme note that told us that Prokofiev thought it his finest work and that it is one of the greatest of 20th century symphonies. Particularly memorable were the scherzo and the lovely passage in the last movement for divided cellos. The orchestra attacked the piece with panache, completing an excellent concert in a splendid venue.
Monday, April 07, 2008
National Youth Orchestra
The National Youth Orchestra of Great Britain celebrates the 60th anniversary of its first performance this year. It consist of players between the ages of 13 and 19 who must play their instruments at least at the level of grade 8 distinction standard. Something like 600 players audition each year for the 160 places. Their concerts are then given under the direction of some outstanding conductors: no less a figure than Antonio Pappano heads the list for this season.
It was in 1971 that I first heard this orchestra, playing Berg Webern and Debussy's "La Mer"at the Proms under Pierre Boulez.
Last week they came to the Sage under the exciting young Russian conductor Vassily Petrenko, Principal Conductor of the Royal Liverpool Philharmonic Orchestra. The concert opened with the world premiere of a short piece by Mark Simpson, himself a former member of the Orchestra and a former winner of the BBC Young Musician of the Year competition. This was followed by Ravel's Valses Nobles et Sentimentales showing off a full and silky sound from the orchestra. The first half concluded with Strauss's Four Last Songs, sung by the Austrian Soprano Gabriele Fontana. She is a distinguished Strauss singer and was wonderfully supported by Petrenko and the orchestra. there was some beautifully controlled quiet playing and Petrenko spun out the quieter passages at very slow speeds.
The second half of the concert brought one of the greatest orchestral challenges and showpieces: Stravinsky's "Rite of Spring". And it was thrilling! The discipline of the orchestra was superb and they threw themselves into the music with electrifying verve.
This was an excellent concert and a wonderful showcase for this extraordinary group.
A recording of the repeat of this concert at The Barbican can be heard on the BBC Radio 3 website until 14 April:-
Tuesday, March 25, 2008
Freddy Kempf at The Sage
Two concerts over Easter from this British pianist who has been attracting much favourable critical comment.
The first, in Hall 2, was a BBC Sunday Morning Concert and will be broadcast on Radio 3 as a Lunchtime Concert towards the end of April. Kempf opened with Mussorgsky's "Pictures from an Exhibition". There was much to admire in this, particularly the dramatic depth of tone but there were a disconcerting number of mistakes. Runs were often smudged, fast passage work shed the odd note along the way, trills were consistently uneven and there was more than the occasional wrong note. The gentler Glinka pieces that followed fared rather better. The concert ended with Balakirev's fiendish "Islamey". This last piece produced some superb virtuosity but again rather too many 'lost' notes for a pianist of this standard.
Kempf returned on Monday evening, this time to Hall 1, to join the Northern Sinfonia in Rachmaninov's Piano Concerto number 2. His playing seemed much more assured in this evening concert although not perhaps quite big-boned enough for this late romantic music. He was not assisted by the Sinfonia's insensitive accompaniment. They were consistently too loud in the first movement leaving Kempf often struggling to make himself heard. Things settled down thereafter but this was not a vintage night.
Thursday, March 20, 2008
Royal Opera 2008-9
The Royal Opera have announced their programme for the 2008-9 season.
They start in early September with a strongly cast "Don Giovanni": Simon Keenlyside as Don Giovanni, Marina Poplavskaya as Donna Anna, Joyce Di Donato as Donna Elvira and Ramon Vargas as Don Ottavio, with Tony Pappano conducting.
Pappano is also conducting the revival of "La Fanciulla del West". After seeing Gwyneth Jones's "Granny Get Your Gun" performance a few years back I swore off this opera but Pappano might tempt me back as might Eva Marie Westbroek as Minnie after her outstanding performances as Lady Macbeth of Mtsensk and Sieglinde. Downsides are Jose Cura as Dick Johnson and Silvano Carroli as Jack Rance: Carroli was in the first run of this production 30 years ago...
I saw the David Alden production of Cavalli's "La Calisto" in Munich so you can read my thoughts about that as recorded in March 2007.
The first must-see of the season comes in October with Rossini's "Matilde di Shabran". I saw this production when it was new in Pesaro in 2004. It is a fascinating opera, with no arias for its leading characters. Nevertheless it proved a wonderful vehicle for Juan Diego Florez, who sings Corradino at Covent Garden, and I will welcome the chance to hear Aleksandra Kurzak as the eponymous heroine.
The presence of Susan Bullock in the cast as Elektra might tempt me to that opera in November. Bullock has not been given her due by London opera companies but she sang a superb Salome for Opera North a couple of years ago.
It is a few years since I have seen "Les Contes d'Hoffmann" but I recall that Rolando Villazon had a great triumph in his house debut in that opera. He returns as Hoffmann with Pappano conducting. Another attractive piece of casting is Gidon saks as the Four Villains. I first noticed him when he sang with Scottish Opera and am delighted to see how his career has progressed.
Not even the combined talents of Patrice Caurier and Moshe Leiser, Colin Davis, Alice Coote, Diana Damrau, Ann Murray, Elizabeth Connell, Thomas Allen and Anja Silja (how old must she be?) will persuade me to give Hansel and Gretel another try.
Korngold's "Die Tote Stadt" is a bold piece of programming for the new year. A friend is already trying to persuade me that it is not to be missed. A little gentle cross-examination revealed that this is based on little more than one aria recorded by Richard Tauber. I shall keep an open mind but remian to be persuaded.
After last year's debacle with the Ring, I am surprised to see Bryn Terfel back in the lists. February brings a new production by Tim Albery of "Der Fligende Hollaender" with Terfel as the Dutchman. Let's just hope none of Terfel's children stub a toe in the new year.
Family issues may also affect the revival of Bellini's "I Capuleti e i Montecchi" in March. Anna Netrebko is scheduled to sing Giulietta but she is also due to give birth later this year. Joan Sutherland was back rehearsing ten days after the birth of her child but that is not necessarily a pattern to be followed. I hope that La Netrebko is back treading the boards by next spring because I was very impressed with her Violetta recently and this is a lovely singers' opera.
Having just seen Magdalena Kozena in "Dido and Aeneas" at the Sage, I shall feel fully justified in giving this a miss.
I will be tempted, however, by the revival of "Il Trovatore" in April. I rather like Elijah Moshinsky's production, which I have seen in London and in Madrid and I would welcome the chance to hear Sondra Radvanovsky's Leonora and Roberto Alagna's Manrico. I very much like his recording with Pappano. Carlo Rizzi is the conductor of this revival and he should be pretty good too.
Another Moshinsky revival in May with Wagner's "Lohengrin" conducted by Semyon Bychkov and with John Botha and Simon O'Neill sharing the title role. The return of Falk Struckmann (who was outstanding in the recent "Parsifal") and the presence of Petra Lang as Ortrud increase the attractiveness of this.
A new production of Berg's "Lulu" is announced for June and with Pappano to conduct. But the all-important title role is 'to be announced at a later date'. Very strange.
Having fielded an all-star cast for "La Traviata" (Netrebko, Kaufmann, Hvorostovsky, cond. Benini) this season, the ROH are clearly set to match it next. Renee Fleming sings Violetta for the first time in London. I know La Fleming has her detractors but whenever I have seen her she has been absolutely glorious. Her Alfredo is Joseph Calleja and his father is Thomas Hampson. With Pappano conducting this looks a difficult one to miss.
But this is quite closely followed by the one totally unmissable event of the season.: "Il Barbiere di Siviglia" with Keenlyside as Figaro, Florez as Almaviva, Di Donato as Rosina, Corbelli as Bartolo and Pappano conducting. What more need I say? I remember Keenlyside singing Figaro with Scottish Opera some years ago when he juggled three balls as he sang the "Largo al factotum". And Almaviva is one of JDF's very best parts (and not just for the final aria).
After all that excitement the season ends with a good revival of "Tosca", conducted by Daniel Oren and with Deborah Voigt as Tosca, Marcello Giordani as Cavaradossi and Bryn Terel as Scarpia. I saw this production when it was new and liked it a lot and Terfel was a superb Scarpia.
Tuesday, March 18, 2008
On Pilgrimage with Sr Jeannine (3)
The day we spent travelling from Naples to Rome proved to be one of the highlights of the trip. We first called at Monte Cassino, a Benedictine Monastery founded by St Benedict himself. It is set high in the mountains and was badly damaged during fighting towards the end of World War II. Happily it has been almost completely and very beautifully restored. We arrived to find the place shrouded in mist, which produced great atmosphere. We had our prayer service in the chapel of St Benedict and St Scholastica, which is decorated with stunning mosaics. I sang the Salve Regina to the solemn Benedictine chant. I was pleased to note that the High Altar in the main basilica is arranged for the celebration of Mass ad orientem, complete with big six and crucifix.
We then moved on to Subiaco and the "Sacra Speco" where St Benedict first tested his vocation to the monastic life. Here the notable art is the frescoes, many dating back to the 12th-15th centuries but some even earlier including one said to be 'from the life' of St Francis of Assisi. Again we were surrounded by misty and stormy weather but just as we were returning to the coach shafts of sunlight pierced through the clouds, as if heaven were opening up before us.
After a little talk from me about Allegri's Miserere, Palestrina and Puccini's "Tosca", we arrived in Rome and came down to earth with a bump. The hotel was terrible! It was stuck way out in the suburbs (near to the penultimate stop on the metro line) the bar opened and closed at random times, the food was never better than poor and the rooms were tiny. I was very close to decamping back to the Hassler. I stuck it out however and we were soon all laughing at our spartan conditions.
Our first full day in Rome included a public audience with the Pope. This took place in the Paul VI Hall. The build up is impressive and, however much one tries to resist it, the Pope's entrance as all the lights come on, is a thrilling moment. The rest of the audience was rather tedious as the Pope reads the same speech in six different languages and long lists of pilgrimage groups are read out. Georg was in close attention to His Holiness, sitting on his right and handing him his scripts. But who was the man on the Pope's left? I think we should be told.
After the audience a whistle-stop tour of St Peter's was disappointing, partly because it was so fast but also because the basilica was being prepared for Holy Week so large parts of it were inaccessible or filled with chairs.
The highlight of the day for me was a Mass for our group at St John Lateran. A friend of Sr Jeannine's Fr Bruce Williams OP celebrated (ad orientem) in a chapel to the north east of the High Altar with beautiful wood carvings of saints. It was wonderful to have our own Mass in this great basilica, the Pope's cathedral. During communion I sang the antiphon Tu es Petrus, which I chose considering the venue, considering that we had seen the Pope that morning and that it was the feast of St Gregory the Great.
In the evening I went to the Teatro dell'Opera for ballet. "Raymonda" is not in the forefront of the classical repertoire but it was well danced and I enjoyed it. I particularly enjoyed visiting the theatre which is beautifully maintained. Another classical European opera house they dim the house lights by first of all turning off the main chandeliers, then the side lights but still leaving the boxes all lit - a wonderful effect. I was again let down by Rome's night time transport as the Metro was closed by 10.30 so again I had to hunt for a taxi.
The official itinerary for our final day was a visit to the catacombs but I have visited them twice before and wanted to see something I had not seen before. So I devised my own "Tosca Pilgrimage" for the day. I started at the Church of St Andrea della Valle. This includes the Barberini Chapel, which in the opera becomes the Attavanti Chapel around which much of the action of Act I takes place. A very special moment occurred as I was looking round the church and the midday Angelus rang - just as happens in the first act of Tosca! Apart from the opera connection, the church is notable for its brilliant frescoes of the crucifixion of St Andrew.
After a leisurely lunch (what a luxury that was!) of pasta carbonara and a couple of glasses of wine, I went to the Castel de St Angelo. There is much to see as you progress through the castle but the true glory is the stunning view from the top - a complete panorama of Rome. The visit also confirmed what I have long suspected, that productions of Tosca that set the last act right up beside the angel are not accurate. If Tosca had thrown herself from there she would have fallen only about twenty feet and, rather than meeting Scarpia before God, could well have ended up with nothing worse than a broken ankle.
I ended my afternoon with a visit to the extraordinary Pantheon, noting not only the altar set up ad orientem with big six but also with altar cards. What is going on in Rome? After a large chocolate ice cream (a tartuffo?) I returned to the metro via St Maria del Popolo with its two brilliant Caravaggios of the crucifixion of St Peter and the conversion of St Paul.
For our final evening there was a break with tradition. Rather than the customary 'awards' we had an ad hoc cabaret with all invited to perform their party piece. These ranged from singing ("We're a Couple of Swells" and "Che Serra Serra") via a one act play ("The Viper is Coming") to prayers, anecdotes, jokes and poems. One lady recited the alphabet backwards! I had composed a few limericks based around characters and events on the pilgrimage.
A barrister Brit Alnwickian
Sang the chant called Gregorian.
He drank gin in the bar
And talked opera
Till Americans shout 'shut up Ian!'
In the ear of Dionysus sang Jeannine
In Latin the Hail Holy Queen.
Mass facing east in addition;
Has Jeannine found tradition?
In a wimple very soon she'll be seen!
Final reflections? I found this pilgrimage really tough and felt we visited too many places and tried to do too much. Also the hotel in Rome was well below the standard I have come to enjoy on these trips. Having said that we did much that was remarkable and the highs very much out-weighed the lows. My fellow pilgrims kept their good humour through all adversities and were a model of Christian fellowship. It was a great privilege for me to be able to sing in places as special as Monte Cassino and St John Lateran. And it is always special to spend time in the company of the extraordinary spiritual force that is Jeannine Gramick. I leave the last word to someone who had been in the novitiate with Sr Jeannine: 'when I first got to know Sr Jeannine in the convent I thought her one of the most intelligent and most holy people I had ever met. I have known her now for forty years and nothing has changed that opinion.'
On Pilgrimage with Sr Jeannine (2)
I was apprehensive about our overnight trip on the ferry from Catania to Naples but it turned out to be fine. The cabins were comfortable with en suite showers and there was a reasonable bar and lounge area. We set off shortly after 11pm and I went up on deck to watch the coast of Sicily and the stars in a clear sky: magical moments. After a reasonable night's sleep our arrival in Naples was even more magical, travelling up the Amalfi coast between Capri and Vesuvius in the morning sunshine. A morning coach tour of Naples brought us to the view over the bay of Naples, surely one of the great sights of the world. Unfortunately the rest of our 'tour' consisted of sitting in Naples traffic jams.
After booking into our hotel I headed off to the opera house for a performance of Bartok's "Bluebeard's Castle". The Teatro San Carlo is a magnificent theatre following the classic European layout of stalls surrounded by six layers of boxes. Like everything in Naples it is slightly shabby and run-down, so all the row and seat numbers in the stalls had disappeared. I was glad to have had the opportunity to visit this theatre where Bellini had his first great success and to see a fine performance with Laszlo Polgar as Bluebeard, Ildiko Kamlosi as Judith and Jeffrey Tate conducting.
The itinerary for the next day was a visit to Pompeii but I forewent that. I have been to Pompeii before and I needed a break from the relentless pace of this trip. So instead I had a leisurely breakfast and headed off to Naples's Archaeological Museum. This contains many artefacts taken from Pompeii and Herculaneum when they were first discovered. There are remarkable sculptures, frescoes and mosaics, perhaps the most memorable being the huge mosaic of Alexander and Darius in battle. On my way back to the hotel I visited the Cathedral of San Gennaro. I was interested to note that the cathedral bookshop had the Liber Usualis on sale.
In the evening we were scheduled for a trip to a Pizzeria for an authentic Neapolitan Pizza. Unfortunately there had been a huge Mediterranean downpour, drenching many of my fellow pilgrims. As a result few of them were willing to venture out again. As a result I led Sr Jeannine and Gerda Kennedy through the rain for a pizza takeaway. I stayed to eat mine in the restaurant for the authentic experience. With strip lights overhead and policemen in uniform (and with guns) on the next table, it was certainly an authentic Naples experience, I can't say the pizza was much better than Sainsbury's though.
Staying in Naples was an interesting, at times exciting, at times frightening experience. One of our party had her purse stolen on the bus. The traffic was mad, noisy and never-ceasing. Crossing the road involving just walking out into the traffic: 'they won't hit you' instructed Elke. At times it put me in mind of being in a north African City. I certainly found it difficult to believe that we were in the third largest city of a major European country.
Monday, March 17, 2008
On Pilgrimage with Sr Jeannine
My third pilgrimage with Sr Jeannine Gramick SL, this one bore the title of "Along Italian Roads, Ancient and New".
I met my fellow pilgrims (25 Americans) at Rome airport and from there we flew on to Palermo in Sicily. Met off the plane by our tour guide the irrepressible Elke Lehmann, we were straight onto a coach and the sight-seeing began! Our first destination was the Monreale Cathedral, just outside of Palermo. This was the creation of William II, the last Norman king of Sicily, in the late eleventh century. The Cathedral is notable for its splendid mosaics, including much gold. The designs include patterns and scenes from the old and new testaments, reflecting the fact that the work was carried out by workmen from the Islamic, Jewish, Catholic and Byzantine traditions. Outside the cathedral is the cloister of the old Benedictine Abbey remarkable for its surrounding of double columns, many topped by intricate sculptures of scenes from scripture and history.
We spent our first night in Palermo and I was able to pop over the road for a late drink to the Grande Hotel Palme, where Wagner stayed while writing significant parts of "Parsifal". Next morningwe set off driving through mountainous scenery with roads lined by citrous trees to the ancient city of Agrigento. Here we visited the Valley of the Temples, a series of remains or reconstructions of temples from the period when Sicily was occupied by the Greeks. Some of these temples were stunning. I was asked by Sr Jeannine to provide a 'spiritual moment' and so on the steps on the best preserved of all the temples the "Concordia" I sang the Kyrie eleison from the Mass Orbis Factor.
We then moved on to Siracusa, which was to be our home for two nights. We were booked into the Church of St Rita for a prayer service (no priest on this pilgrimage so no daily Mass, which was a big miss). The Church itself was disappointing, a large modern building where I had been hoping for some Sicilian baroque, but we were received very warmly by the Parish Priest. He produced an image of a Weeping Madonna, gave us each a pink rosary and then led us in singing Ave Maria.
The next day we went to the Archaeological park of Siracusa with its Greek remains, including an amphitheatre. We were also taken to the "Ear of Dionysus" a cleft cut into the rock which has produced a magical acoustic. I sang the opening of the solemn Salve Regina from one end and Sr Jeannine responded by singing the simple Salve from the other. We then moved on to the old town of Siracusa and held our prayer service in the Cathedral. This is based on an ancient temple whose columns are incorporated into the modern building. All very historical but still no sign of Sicilian baroque. Our prayer service was conducted amongst the loud babble of tour guides showing visitors around. In the afternoon I went to the actual shrine erected to Siracusa's Weeping Madonna. This is a large brutalist concrete structure - by now I was beginning to despair of ever finding any Sicilian baroque.
After a morning prayer service at St Rita's (no further appearance by the flamboyant priest) we set off for Mount Etna, Italy's tallest peak and the largest active volcano in Europe. The mountain was covered in snow, its top disappearing into the mist as we approached. We were able to drive up above the snowline and snow was actually falling as we left. We then moved on to the picturesque hill town of Taormina, which includes an impressive Greek theatre from the third century BC. I had said a few words on the coach about the composer Bellini who was born on Sicily and I took the opportunity to sit in this theatre looking out over the sea and listen to an aria from his opera "Il Pirata".
After dinner in Catania (Bellini's birthplace) we embarked on the overnight ferry to Naples.
A Stolen Night in Rome
I was due to start a pilgrimage, meeting the other pilgrims (who were flying in from the USA) at Rome Airport on Wednesday 5 March. The timings were a bit tight to get to Rome in time by flying out that morning so I thought I would treat myself to an extra night in Rome beforehand.
I consulted a colleague who recommended the Hassler Hotel, described in my guidebook as having a 'mood of timeless luxury': just what I was looking for. Set at the top of the Spanish Steps, next door to the Chiesa Trinita del Monti, the Hassler lived up to its reputation and provided me with a cocoon of luxury for 24 hours. I had lunch overlooking the Spanish Steps before retiring for a siesta.
In the evening I took the opportunity of visiting Rome's new concert hall, the Auditorium Parca della Musica. This building, opened about five years ago, houses three halls, and I went to a concert in the largest of them, the Sala Santa Cecilia. This is a large hall seating more than 2,500 and laid out in the terraced style favoured by many modern European halls. The acoustics are good without being outstanding, there are a lot of stairs and not many bars or 'arrangement rooms'.
The concert featured the hall's resident Orchestra dell'Accademia Nazionale di Santa Cecilia, conducted by the distinguished Russian conductor Yuri Temirkanov. The first work was Beethoven's fourth piano concerto played by Nelson Goerner with just the right balance of delicacy and bravura. This was followed by Ravel's piano concerto played by veteran Martha Argerich. So warmly were both pianists received that we then had two piano duets as encores. The second half of the concert was Tchaikovsky's fourth symphony. In this Termikanov really put the orchestra through their paces, taking the outer movements at thrilling speed. The players responded magnificently, with the leader at times up off his seat.
A slight downside came at the end of the concert, when the only taxis available were those that had already been booked, leaving me with a thirty minute walk to find a taxi rank. Then it was back to the Hassler for a late supper and a night in a luxurious bed before pilgrimage conditions started the next day...
Tuesday, February 19, 2008
Magdalena Kozena at the Sage (2)
Magdalena Kozena's ill-fortune at the Sage continues. Her recital scheduled for tomorrow evening has been cancelled due to illness.
Here is what she was due to sing:-
Debussy
Chansons de Bilitis
Trois ballades de Villon
Mahler
Kindertotenlieder (F. Rückert)
R. Strauss
Die heiligen drei Könige aus morgenland
Muttertändelei
Wiegenlied
Ruhe, meine Seele
Morgen
Poulenc
Quatre poèmes de Guillaume Apollinaire
Le tragique histoire de petit René from ‘Quatre chansons pour enfants’
Nous voulons une petite soeur from ‘Quatre chansons pour enfants’
Les chemins de l’amour
Here is what she was due to sing:-
Debussy
Chansons de Bilitis
Trois ballades de Villon
Mahler
Kindertotenlieder (F. Rückert)
R. Strauss
Die heiligen drei Könige aus morgenland
Muttertändelei
Wiegenlied
Ruhe, meine Seele
Morgen
Poulenc
Quatre poèmes de Guillaume Apollinaire
Le tragique histoire de petit René from ‘Quatre chansons pour enfants’
Nous voulons une petite soeur from ‘Quatre chansons pour enfants’
Les chemins de l’amour
Saturday, February 16, 2008
Magdalena Kozena at The Sage
The Czech mezzo Magdalena Kozena generated considerable excitement two or three years ago. She had a very successful debut CD (lavished with praise by John Steane) and made a much lauded appearance at the Edinburgh Festival. She was also due to appear at The Sage at that time in a concert with the Orchestra of the Age of the Enlightenment but had to cancel due to ill-health. In the time that has passed since then the excitement has died down a lot and her recent Cenerentola at Covent Garden gathered only modest reviews. She returned to the Sage last night as Dido in Purcell's "Dido and Aeneas".
Purcell's opera is a slight piece, lasting less than an hour and with not enough musical 'meat' in it for my taste: there are too many ha-ha-ha choruses and only one proper aria. Kozena started very edgily and although she did improve this was not an impressive performance. The final 'remember me' of her lament ran out of breath and tone and ended with an ugly gulp. I think I made out one word in the whole evening. She was not helped by a ludicrous dress, covered in pleats and figure-hugging in all the most unflattering places.
Roderick Williams sang strongly as Aeneas and Sue Bickley was a forceful sorceress. No words could be discerned in the performances of Gillian Keith (Belinda) Elizabeth Cragg and Amy Carson (witches).
The Northern Sinfonia, conducted by Nicholas Kraemer, played well, if rather unrelentingly loudly, and there was excellent choral singing from the Sinfonia Chorus. Unfortunately they, and the soloists, were undermined by a totally ludicrous semi-staging by a woman unnamed in the programme. This had everyone in bare feet and the chorus constantly walking or dancing around the stage. Even Dido's lament was accompanied by yogic contortions from some ladies of the chorus. The sight of the rather mature men of the Sinfonia Chorus skipping up and down the stage holding hands was just laughable.
A poor Sage debut for Kozena. I hope she can do better with Mahler, Strauss and Poulenc songs on Wednesday...
Monday, January 28, 2008
La Traviata with La Netrebko
One of the hottest tickets of the ROH season was always going to be this revival of Richard Eyres’s very successful production of “La Traviata”. Not only did it promise Anna Netbrebko’s debut in this production but also Jonas Kaufmann as Alfredo and Dmitri Hvorostovsky as Giorgio Germont.
The first night received sensational reviews: ‘a life changing experience’ wrote one overwhelmed hack. But then disaster struck and La Netrebko went down with a chest infection leaving the sold out houses to a lady from Albania. But by Saturday Anna was back, in time for my visit and the BBC recording (to be played on radio 3 on Saturday 9 February).
And sensational she was indeed. She looked fabulous in Bob Crowley’s beautiful frocks, she acted naturally and convincingly and her diction was excellent. This was the first time I had heard her and the first thing that I was struck by was the sheer size of the voice: this is a huge and luscious instrument. It is beautiful in tone and even right through its range up to a top D (no E flat). She could shade it for expressive subtlety and fine it down for a heart-stopping pianissimo, as she did for the start of the second verse (sic) of “Addio del passato”. The only thing that was lacking was an easy facility in the coloratura of Act I, which was all a bit approximate. How she has sung Amina in “La sonnambula” and Elvira in “I Puritani” leaves me puzzled: this is a Leontyne Price voice rather than a Beverley Sills, a Tebaldi rather than a Sutherland.
She was superbly partnered by Jonas Kaufmann. Is there nothing at which this tenor does not excel? I have seen him in Puccini and Wagner; he had a triumph as Don Jose in “Carmen” last season and he has won an award for singing Richard Strauss lieder!
Hvorostovsky was a fine Germont Pere, although I was again surprised at how small his voice is. How does he cope with roles like Rigoletto, especially in the wide open spaces of the Met? All the supporting cast were very good with a special mention for Ji-Min Park as Gastone.
Maurizio Benini conducted very well, at times perhaps rather too fast: the little scene in Act II, vital to the plot, when Violetta receives the invitation from Flora was rushed through. But the orchestra played well for him, the big dramatic scenes had real bite and he supported Netrebko excellently in her quieter singing. We lost the second verses of “Ah fors e lui”, Giorgio Germont’s cabaletta and “Ah mio rimorso” but there were no unconscionable cuts.
So was this a life changing evening for me? Alas, no, but that may be because I have already experienced my ‘life-changing’ Traviata at Covent Garden. That was over thirty years ago and it was the first time that I heard Joan Sutherland. Now that really did change my life.
The first night received sensational reviews: ‘a life changing experience’ wrote one overwhelmed hack. But then disaster struck and La Netrebko went down with a chest infection leaving the sold out houses to a lady from Albania. But by Saturday Anna was back, in time for my visit and the BBC recording (to be played on radio 3 on Saturday 9 February).
And sensational she was indeed. She looked fabulous in Bob Crowley’s beautiful frocks, she acted naturally and convincingly and her diction was excellent. This was the first time I had heard her and the first thing that I was struck by was the sheer size of the voice: this is a huge and luscious instrument. It is beautiful in tone and even right through its range up to a top D (no E flat). She could shade it for expressive subtlety and fine it down for a heart-stopping pianissimo, as she did for the start of the second verse (sic) of “Addio del passato”. The only thing that was lacking was an easy facility in the coloratura of Act I, which was all a bit approximate. How she has sung Amina in “La sonnambula” and Elvira in “I Puritani” leaves me puzzled: this is a Leontyne Price voice rather than a Beverley Sills, a Tebaldi rather than a Sutherland.
She was superbly partnered by Jonas Kaufmann. Is there nothing at which this tenor does not excel? I have seen him in Puccini and Wagner; he had a triumph as Don Jose in “Carmen” last season and he has won an award for singing Richard Strauss lieder!
Hvorostovsky was a fine Germont Pere, although I was again surprised at how small his voice is. How does he cope with roles like Rigoletto, especially in the wide open spaces of the Met? All the supporting cast were very good with a special mention for Ji-Min Park as Gastone.
Maurizio Benini conducted very well, at times perhaps rather too fast: the little scene in Act II, vital to the plot, when Violetta receives the invitation from Flora was rushed through. But the orchestra played well for him, the big dramatic scenes had real bite and he supported Netrebko excellently in her quieter singing. We lost the second verses of “Ah fors e lui”, Giorgio Germont’s cabaletta and “Ah mio rimorso” but there were no unconscionable cuts.
So was this a life changing evening for me? Alas, no, but that may be because I have already experienced my ‘life-changing’ Traviata at Covent Garden. That was over thirty years ago and it was the first time that I heard Joan Sutherland. Now that really did change my life.
Sunday, January 13, 2008
Lo Sposalizio - The King's Consort
The first appearance by the King's Consort at The Sage had been a thrilling performance of Monteverdi's Vespers. Could they match that on their return, particularly after their difficulties of last year? The answer is not quite, but this was still a highly enjoyable concert, conducted by their new musical director Matthew Halls.
Lo Sposalizio is an attempt to reconstruct highlights of the celebrations to mark Ascension Day as they might have occurred in Venice at the end of the sixteenth century. The events started outside with drums, fanfares and secular choral and instrumental music leading to the climax of the ceremony, the symbolic 'marriage' of Venice to the sea, the Doge casting a golden ring into the water and pronouncing the words 'Desponsamus te Mare, in signum veri perpetuique dominii' (we espouse thee O sea, as a sign of true and perpetual dominion). This was then followed by Solemn High Mass in the Church of San Nicolo.
The concert started with the lights dimmed and the single tolling bell of San Marco. The singers then entered in procession through the hall, led by four side drums. The music for the first half consisted of alternating vocal and instrumental pieces, interspersed with more drumming and fanfares, and climaxing with the gorgeous 16 part madrigal "Udite chiari et generosi figli" by Giovanni Gabrieli.
The second half started with the bell of San Nicolo and a fanfare to signal the arrival at the church of the Doge. The music from the liturgy was Giovanni Gabrieli's 12 part Kyrie and Sanctus and Andrea Gabrieli's 16 part Gloria. Other music included Monteverdi's 5 part motet "Christe adoramus te" and Tributio Massaino's remarkable "Canzon per otto tromboni" played on eight sackbuts. The Mass, and this concert, ended with the bells of Venice and more drumming.
The music of the whole concert flowed easily from one item into another. The singing and playing were of marvellous precision and verve. The instrumental ensemble included not only eleven sackbuts but also five trumpets and two Chitarrone. The voices were all men, the top lines being taken by six counter-tenors.
Three minor quibbles with the music for the Mass. I would liked to have heard some of the Mass Proper chanted, to place the elaborate polyphony in context and to provide a bit of contrast. The use of the chamber organ as a continuo in the Monteverdi motet was unnecessary and a distraction. There should have been a pause between the Sanctus and Benedictus, not only to mark that the Consecration would have taken place then, but also because the mood and style of the music show a distinct change.
But these are minor quibbles about what was a brilliant concept, superbly executed.
Blogger's Block
I am shocked to see that it is more than three months since I posted anything new on here. Part of the reason is my attendance at the Covent Garden Ring Cycle at the end of October. That was a fantastic, at times overwhelming, experience and I have not been able satisfactorily to put my thoughts about it together. Time to leave it it and return to less overwhelming fare.
Thursday, September 27, 2007
Luciano Pavarotti RIP
With the death of Luciano Pavarotti, the world of opera has lost probably its best known character and one of the great tenors of the second half of the twentieth century.
I first heard Pavarotti in 1976, singing Rodolfo in Puccini’s “La Boheme” at Covent Garden. It was an astounding performance: his charm and personality seemed to fill the stage as much as that glorious voice filled the auditorium. The voice was both individual and beautiful with a wonderful feel of Mediterranean sunshine to it. In his glory days it sailed easily up to a top C. While his interpretative gifts did not match those of a singer like Bergonzi, there was a freshness and honesty about Pavarotti’s singing, matched with clear words. Above all he always sounded as if he was loving every moment of what he was doing.
I was later to see him in more Puccini, in three Verdi roles and as Edgardo in Donizetti’s “Lucia di Lammermoor”, the last at the Verona Arena. His ventures into heavier Verdi roles were not generally great successes and his Radames in “Aida” at Covent Garden was less than wonderful but in parts that suited him he was simply awesome.
He first came to prominence in the early 1960s and some of his first big breaks came partnering Joan Sutherland, particularly as Tonio in Donizetti’s “Filled du Regiment”. Their partnership became one the great singing combinations and they made thirteen complete opera recordings together, each one of which would have a fair claim to be amongst the best recordings of the opera in question.
It was that combination with Sutherland, and the music of Puccini, in which Pavarotti excelled, that brought forth what I consider to be his greatest recording. “Turandot” not only contains his ‘signature tune’ “Nessun Dorma” but also a fantastic duet for him and Sutherland in the second act where they both roar up to a sustained top C. But the best is yet to come from Pavarotti. After he has solved the riddles and thus won the competition for Turandot’s hand he confronts her continuing reluctance with the words ‘Ti voglio tutta ardente d’amor’ (I would have you aflame with love). Other tenors throw this out as a shout of defiance but Pavarotti, while still taking all the optional higher notes, sings with such beauty and warmth of tone that he convinces you that he means exactly what he says. A truly magical moment from a magical singer.
I first heard Pavarotti in 1976, singing Rodolfo in Puccini’s “La Boheme” at Covent Garden. It was an astounding performance: his charm and personality seemed to fill the stage as much as that glorious voice filled the auditorium. The voice was both individual and beautiful with a wonderful feel of Mediterranean sunshine to it. In his glory days it sailed easily up to a top C. While his interpretative gifts did not match those of a singer like Bergonzi, there was a freshness and honesty about Pavarotti’s singing, matched with clear words. Above all he always sounded as if he was loving every moment of what he was doing.
I was later to see him in more Puccini, in three Verdi roles and as Edgardo in Donizetti’s “Lucia di Lammermoor”, the last at the Verona Arena. His ventures into heavier Verdi roles were not generally great successes and his Radames in “Aida” at Covent Garden was less than wonderful but in parts that suited him he was simply awesome.
He first came to prominence in the early 1960s and some of his first big breaks came partnering Joan Sutherland, particularly as Tonio in Donizetti’s “Filled du Regiment”. Their partnership became one the great singing combinations and they made thirteen complete opera recordings together, each one of which would have a fair claim to be amongst the best recordings of the opera in question.
It was that combination with Sutherland, and the music of Puccini, in which Pavarotti excelled, that brought forth what I consider to be his greatest recording. “Turandot” not only contains his ‘signature tune’ “Nessun Dorma” but also a fantastic duet for him and Sutherland in the second act where they both roar up to a sustained top C. But the best is yet to come from Pavarotti. After he has solved the riddles and thus won the competition for Turandot’s hand he confronts her continuing reluctance with the words ‘Ti voglio tutta ardente d’amor’ (I would have you aflame with love). Other tenors throw this out as a shout of defiance but Pavarotti, while still taking all the optional higher notes, sings with such beauty and warmth of tone that he convinces you that he means exactly what he says. A truly magical moment from a magical singer.
Monday, September 03, 2007
Edinburgh Festival
When I first looked at the programme for this year's Festival, my first reaction was disappointment. No classical ballet, virtually no opera, lots of obscure early music: was this a huge sea-change in the ethos of the Edinburgh Festival? My experience of being there for the last three days was that the changes were not quite as damaging as at first appeared.
Let me start with a very welcome new addition: the programme of short early evening concerts of early vocal music at Greyfriars Kirk. I was able to catch the concert given by the Tallis Scholars with the title "Spanish Golden Age", which featured liturgical music by Guerrero, Lobo and Padilla. I thought the outstanding piece was Lobo's Missa Maria Magdalena, a Mass setting I had never heard before. The choir sang the music with vivid attack and at often seemingly reckless speeds but they carried it all off brilliantly. I especially liked the effect of halving the number of voices singing for the 'narrative' central section of the Credo. Only one moan: the ladies again sang with a rather harsh edge to their tone, presumably to avoid vibrato and a too womanly or (God forbid) operatic sound. This concert was packed and was enthusiastically received. I hope that this series will become a regular feature of the Festival.
Happily, a dear old friend remained intact: the morning concerts at the Queens Hall. These concerts, more than anything else, are the essence of the Edinburgh Festival to me. I was able to catch John Williams's guitar recital, a brilliant concert by a man who is not just a virtuoso but also a profound musician and communicator. My second concert was a recital of music for horn and piano by David Pyatt and Leon McCawley. This was an unexpected success. Did you know that Beethoven wrote a horn sonata? Neither did I until I heard it on Saturday!
The Usher Hall is undergoing extensive refurbishments but was still usable for the big orchestral concerts. The San Francisco Symphony Orchestra gave a luscious performance of Mahler's seventh symphony. What a shame that they decided to drown out Deborah Voigt in the final scene from "Salome". Strauss accompaniment was rather better served by the Guerzenich orchestra of Cologne under Markus Stenz when accompanying Gabriele Fontana in three songs the following evening. I thought the highlight of that evening was Zimmerman's extraordinary "Photoptosis": I even enjoyed Stenz's little talk introducing it.
By the final week, what dance there had been had petered out completely. As for opera, only Strauss' "Capriccio" was available, staged by the Cologne Opera at the Festival Theatre. This was my first encounter with Strauss's last stage work and it may well be my last. It has virtually no plot and large parts of the music are accompanied conversation. There is a glorious final scene for the leading soprano (wonderfully staged in this production) but by then the opera had been going for nearly three hours with only one short interval and I had rather lost the will to live. Lovely singing from Gabriele Fontana in the title role and again excellent accompaniment from Markus Stenz and his orchestra.
In between all this music I was able to take in the large and impressive Andy Warhol Exhibition at the National Gallery and the rather higgledy-piggledy "Naked Portraits" exhibition at the Portrait Gallery.
I enjoyed my visit to Edinburgh this year rather more than I expected to. I thought the Greyfriars concerts a great idea, which I hope will return. But please, can we have some ballet and some proper opera back?
Let me start with a very welcome new addition: the programme of short early evening concerts of early vocal music at Greyfriars Kirk. I was able to catch the concert given by the Tallis Scholars with the title "Spanish Golden Age", which featured liturgical music by Guerrero, Lobo and Padilla. I thought the outstanding piece was Lobo's Missa Maria Magdalena, a Mass setting I had never heard before. The choir sang the music with vivid attack and at often seemingly reckless speeds but they carried it all off brilliantly. I especially liked the effect of halving the number of voices singing for the 'narrative' central section of the Credo. Only one moan: the ladies again sang with a rather harsh edge to their tone, presumably to avoid vibrato and a too womanly or (God forbid) operatic sound. This concert was packed and was enthusiastically received. I hope that this series will become a regular feature of the Festival.
Happily, a dear old friend remained intact: the morning concerts at the Queens Hall. These concerts, more than anything else, are the essence of the Edinburgh Festival to me. I was able to catch John Williams's guitar recital, a brilliant concert by a man who is not just a virtuoso but also a profound musician and communicator. My second concert was a recital of music for horn and piano by David Pyatt and Leon McCawley. This was an unexpected success. Did you know that Beethoven wrote a horn sonata? Neither did I until I heard it on Saturday!
The Usher Hall is undergoing extensive refurbishments but was still usable for the big orchestral concerts. The San Francisco Symphony Orchestra gave a luscious performance of Mahler's seventh symphony. What a shame that they decided to drown out Deborah Voigt in the final scene from "Salome". Strauss accompaniment was rather better served by the Guerzenich orchestra of Cologne under Markus Stenz when accompanying Gabriele Fontana in three songs the following evening. I thought the highlight of that evening was Zimmerman's extraordinary "Photoptosis": I even enjoyed Stenz's little talk introducing it.
By the final week, what dance there had been had petered out completely. As for opera, only Strauss' "Capriccio" was available, staged by the Cologne Opera at the Festival Theatre. This was my first encounter with Strauss's last stage work and it may well be my last. It has virtually no plot and large parts of the music are accompanied conversation. There is a glorious final scene for the leading soprano (wonderfully staged in this production) but by then the opera had been going for nearly three hours with only one short interval and I had rather lost the will to live. Lovely singing from Gabriele Fontana in the title role and again excellent accompaniment from Markus Stenz and his orchestra.
In between all this music I was able to take in the large and impressive Andy Warhol Exhibition at the National Gallery and the rather higgledy-piggledy "Naked Portraits" exhibition at the Portrait Gallery.
I enjoyed my visit to Edinburgh this year rather more than I expected to. I thought the Greyfriars concerts a great idea, which I hope will return. But please, can we have some ballet and some proper opera back?
Wednesday, August 29, 2007
Chess in Amsterdam
Amsterdam’s fascination with the greatest of all board games came alive in 1935 when Max Euwe (born on the outskirts of Amsterdam) became world champion, defeating Alexander Alekhine, undoubtedly one of the greatest players of all time. An equivalent achievement would have been if Tim Henman had won Wimbledon beating Pete Sampras in the final.
To this day Max Euwe is commemorated in Amsterdam: a square (complete with giant chess board) is named after him, as is a chess museum. There is also the Association Max Euwe (based in Monaco), which exists to sponsor high quality chess events.
So it was that on a recent visit to Amsterdam I found a chess tournament sponsored by that Association taking place in my hotel. This was an unexpected bonus to the weekend but provided me with hours of pleasure watching the competition unfold.
The event was a match pitting “Experience” (players 40 and over) against “Rising Stars” (players 27 or younger). The youngest player in the event was the Indian Grand Master Parimarjan Negi, aged 14. The oldest player was Ljubomir Ljubojevic at 56. He had been a hugely successful and glamorous figure in the days when I was passionate about the game, reaching third place in the world rankings and knocking at the door of the world championship. He was noted then for his adventurous swash-buckling style over the board. These days he is semi-retired and sadly a lot of the fire has gone from his game.
The games were played in the modern tournament style using the "Fischer Clock" so that every game was completed within one session (no adjournments). This led to some exciting struggles and often rapid fire play as the time limits approached.
Here is a game I particularly enjoyed between the 53 year old Alexander Beliavsky playing white against the 20 year old Dutch player Daniel Stellwagen. At move 40 Beliavsky thought he had secured the draw, but it turned out on closer inspection that he had miscounted the repetitions. By the end he was running out of checks and Black’s pawn was bound to queen.
1. d4 d5; 2. c4 c6; 3. Nf3 Nf6; 4. Nc3 e6; 5. Bg5 dxc4; 6. e4 b5; 7. e5 h6; 8. Bh4 g5; 9. Nxg5 hxg5; 10. Bxg5 Nbd7; 11. exf6 Qa5; 12. g3 b4; 13. Ne4 Ba6; 14. Qf3 O-O-O; 15. Be3 c5; 16. Bg2 cxd4; 17. Bxd4 Ne5; 18. Bxe5 Qxe5; 19. O-O Rd3; 20. Qg4 Bh6; 21. Rad1 Rhd8; 22. Rxd3 cxd3; 23. f4 Qd4; 24. Rf2 Bf8; 25. Qf3 Bc5; 26. Nxc5 Qxc5; 27. Kh1 d2; 28. Rf1 Rd5; 29. Rd1 Qc1; 30. h4 Bd3; 31. Kh2 Bc2; 32. Qf1 Qxd1; 33. Qc4 Kd8; 34. Qxb4 Qe2; 35. Qb8 Kd7; 36. Qxa7 Kc8; 37. Qa8 Kc7; 38. Qa7 Kc6; 39. Qa8 Kc7; 40. Qa7 Kc6; 41. Qa8 Kb5; 42. Qb7 Ka5; 43. Qc7 Kb4; 44. Qb6 Qb5; 45. Qa7 Qc5; 46. Qb7 Kc4. 0-1
Full coverage of the match can be found at:-
http://nhchess2007.nl/
To this day Max Euwe is commemorated in Amsterdam: a square (complete with giant chess board) is named after him, as is a chess museum. There is also the Association Max Euwe (based in Monaco), which exists to sponsor high quality chess events.
So it was that on a recent visit to Amsterdam I found a chess tournament sponsored by that Association taking place in my hotel. This was an unexpected bonus to the weekend but provided me with hours of pleasure watching the competition unfold.
The event was a match pitting “Experience” (players 40 and over) against “Rising Stars” (players 27 or younger). The youngest player in the event was the Indian Grand Master Parimarjan Negi, aged 14. The oldest player was Ljubomir Ljubojevic at 56. He had been a hugely successful and glamorous figure in the days when I was passionate about the game, reaching third place in the world rankings and knocking at the door of the world championship. He was noted then for his adventurous swash-buckling style over the board. These days he is semi-retired and sadly a lot of the fire has gone from his game.
The games were played in the modern tournament style using the "Fischer Clock" so that every game was completed within one session (no adjournments). This led to some exciting struggles and often rapid fire play as the time limits approached.
Here is a game I particularly enjoyed between the 53 year old Alexander Beliavsky playing white against the 20 year old Dutch player Daniel Stellwagen. At move 40 Beliavsky thought he had secured the draw, but it turned out on closer inspection that he had miscounted the repetitions. By the end he was running out of checks and Black’s pawn was bound to queen.
1. d4 d5; 2. c4 c6; 3. Nf3 Nf6; 4. Nc3 e6; 5. Bg5 dxc4; 6. e4 b5; 7. e5 h6; 8. Bh4 g5; 9. Nxg5 hxg5; 10. Bxg5 Nbd7; 11. exf6 Qa5; 12. g3 b4; 13. Ne4 Ba6; 14. Qf3 O-O-O; 15. Be3 c5; 16. Bg2 cxd4; 17. Bxd4 Ne5; 18. Bxe5 Qxe5; 19. O-O Rd3; 20. Qg4 Bh6; 21. Rad1 Rhd8; 22. Rxd3 cxd3; 23. f4 Qd4; 24. Rf2 Bf8; 25. Qf3 Bc5; 26. Nxc5 Qxc5; 27. Kh1 d2; 28. Rf1 Rd5; 29. Rd1 Qc1; 30. h4 Bd3; 31. Kh2 Bc2; 32. Qf1 Qxd1; 33. Qc4 Kd8; 34. Qxb4 Qe2; 35. Qb8 Kd7; 36. Qxa7 Kc8; 37. Qa8 Kc7; 38. Qa7 Kc6; 39. Qa8 Kc7; 40. Qa7 Kc6; 41. Qa8 Kb5; 42. Qb7 Ka5; 43. Qc7 Kb4; 44. Qb6 Qb5; 45. Qa7 Qc5; 46. Qb7 Kc4. 0-1
Full coverage of the match can be found at:-
http://nhchess2007.nl/
Wednesday, July 18, 2007
Massenet's Thais
A recent concert performance at the Royal opera House gave a chance to hear Massenet's rarely performed opera "Thais" This was the opera's first performance at Covent Garden since 1926 and the first by the Royal Opera.
Although the scenes of the opera, ranging from the banks of the Nile to Alexandria and an oasis in the desert, really call for extravagant sets and exotic costumes, I was quite happy that this was a concert performance. It prevented a director transferring its setting to a Glasgow tenement and a concert performance allows everyone, performers and audience, to concentrate exclusively on the music. Massenet's music is so rich and atmospheric, scenery and costumes were hardly missed.
The opera tells of the ascetic monk Athanael who cannot stop thinking of the beautiful courtesan Thais and sets off to Alexandria to convert her. So successful is he that she decides to give up her fleshly life and retire to a convent. Having left her at the convent Athanael realises that his interest her was not as spiritual as he thought it was. Rushing to be with her, he finds her dying and as he proclaims his worldly love for her she dies, wishing only to be with God.
The theme was very popular in the nineteenth century and indeed retains a fascination even in these more secular times. Remember the story of Father Brown and his topless housekeeper?
I was very pleased to encounter again Jospeh Calleja as Nicias the 'young sybarite'. This is a voice that has appreciable weight to it and a fine cutting edge that really takes it out into the house. This was a considerable performance that made me wonder if he is not becoming ripe for some rather heavier repertoire.
The monk Athanael was to have been sung by Thomas Hampson but he was ill. Simone Alberghini substituted. He looked good and sang competently but did not really carry the vocal firepower for such a leading role in this company.
In the title role there was a star performance from Renee Fleming. This is a part that matches her talents better than any other I have heard her sing. There were moments of the throaty delivery that I know troubles some but at other times the voice absolutely soared. Everything she sang was sung with conviction and her top notes were totally thrilling. She also wore two fabulous frocks: scarlet for her days as a courtesan and restrained cream as she moved towards the cloister and death.
Andrew Davis conducted the orchestra and chorus of the Royal Opera House with great elan.
This was an evening of huge enjoyment with an unforgettable performance form Fleming.
Monday, July 16, 2007
Brinkburn Festival
I really ought to love the Brinkburn Music Festival.
Brinkburn Priory is set on the banks of the River Coquet, in the midst of beautiful Northumberland countryside and is a place of intense peace and tranquillity.The priory church is the only complete surviving building of a monastery founded as a house for Augustinian canons in the twelfth century. Its original dedication was to St Peter, later modified to include St Paul. The house was never a large one and by the fourteenth century numbered only some twelve canons. In 1536 the monastery was dissolved and its buildings fell into ruin. Careful restoration work in the nineteenth century, instigated by Brinkburn's then owner Cadogan Hodgson Cadogan, restored the church building. Unlike some 'restorations' of the Victorian period the work at Brinkburn was carried out in a sensitive and restrained manner.
One of the many remarkable qualities of the building is its wonderful acoustic. This was noted by Paul McCreesh, Director of the Gabrieli Consort. He has used the priory for recording some of his liturgical reconstructions and in 1993 he founded the Brinkburn Music Festival which has brought musicians of international standing to Brinkburn. My own Schola Gregoriana of Northumbria sang at the first of those festivals in a concert with the Orlando Consort. Since 1995 Brinkburn has also been used for an annual Latin Mass celebrated using the Missal of Blessed John XXIII and the Schola has led the music at every one of those Masses.
This year the Gabrieli Consort presented a concert of music written in honour of the Blessed Virgin Mary. There was a surprising preponderance of modern music (more than half the pieces were written in the twentieth century) and no Gregorian Chant. I enjoyed Mouton's "Nesciens mater" and Josquin's "Ave Maria ... virgo serena" but I thought Palestrina poorly represented by his rather ordinary "Stabat mater". Of the modern music I was thrilled to hear Pablo Casals's "O vos omnes" a brilliant and moving piece.
At the end of the official programme Paul McCreesh announced that the Gabrieli Consort were to be joined by the Tees Valley Youth Choir for further two pieces. These, and an unexpected interval, extended the concert by 45 minutes beyond its promised finish time. The performance of Britten's "Hymn to the Virgin", with a small group singing the refrains from the back of the Priory was something special.
The Gabrieli Consort is an outstanding choir who showed eclectic virtuosity in music ranging over more than five centuries. Ensemble was occasionally a little shaky (a lack of rehearsal perhaps?). The ladies showed the fault of a lot of similar groups, singing with a rather sharp and harsh sound - a little more roundness of tone would be very welcome. And I am afraid I don't like Paul McCreesh's practice of having his choir singing a sustained final 'n' (Amen-n-n-n-n) - to me it sounds affected.
The organisation of the Festival gets better year by year. In addition to the marquee offering drinks and meals this year there was also a picnic service. Even the dreaded 'arrangements' were better this year - at least for the gentlemen.
But there is something about this Festival that always leaves me unsatisfied. Maybe it is the seating that is crammed into the Priory to the point of discomfort. Maybe it is the 'country show' atmosphere - except with McCreesh CDs rather than dressed sticks on sale. Maybe it is the 'school concert' organisation, with sudden additions to the programme and frequent self-congratulatory speeches. Maybe it is that I have come to associate Brinkburn with the performance of great church music within the liturgical context for which it was written.
I really ought to love the Brinkburn Music Festival. But I struggle with it...
Wednesday, June 27, 2007
Glyndebourne
It is more years than I care to admit since I was last at Glyndebourne, so I was delighted when two friends from London asked me to join their party this year.
We assembled at Victoria Station, complete with picnic hamper and all the necessary food and drink. The train to Lewes took just over an hour and then we were met by a coach from the opera house itself. Despite dire weather warnings, by the time we arrived at Glyndebourne it was a perfect summer afternoon. We selected our spot in the garden and unloaded our picnic. There was then time for a walk around the lake, and a glass of champagne enjoying the afternoon sunshine and admiring the Sussex countryside before we made our way to the opera house.
Opera here started in the 1930s in a converted barn seating just over 300. In the early 1990s a completely new opera house was built. It seats about 1150, is in a traditional horseshoe design but cleverly keeps the twin Glyndebourne themes of ‘summer’ and ‘country’. Inside there are no velvet drapes but instead exposed wood. The outside steps are still in stone or concrete and the balconies around the house are all open: extensively used for opera-goers’ picnics when it is raining.
The opera was Verdi’s”Macbeth”. Glyndebourne have a very careful casting policy. You will not see big names here but you will often catch young singers on the verge of a major career: Sutherland, Pavarotti, Caballe and Alagna all sang here as youngsters. Alternatively you may catch little-known singers who have been carefully chosen because they fit a certain role in a theatre of this size. The latter was the case here.
The title role was sung by Andrzej Dobber, who fulfilled all the vocal and dramatic requirements of the role perfectly well. Even better was Sylvie Valayre as Lady Macbeth, her steely soprano voice just right for the part and well up to the “Cherie Blair” characterisation of Richard Jones’s production. I thought the outstanding vocal performance came from Stanislav Shvets’s sonorous Banquo and it was nice to see Opera North regular Peter Auty as Macduff. The resident orchestra is the London Philharmonic, who played superbly under Damien Iorio.
The production was by Richard Jones. Not always an easy director, I thought his style, often with large elements of back humour, worked well in this opera. There were lots of kilts for the men and the witches were three generations of Glasgow lassies: grannies, mums and short-skirted teenagers. They cooked their witches brew over an exploding gas cooker. After the murder of Banquo (chillingly portrayed), his head is brought to Macbeth in a cardboard box stained with blood – and it is this box that reappears to provoke Macbeth’s outburst during the banquet scene – and even followed him around the stage. Lady Macbeth’s sleep-walking scene was also vividly done with her repeatedly putting on white gloves, only to immediately peel them off and throw them into a washing machine.
The biggest miscalculation of the evening was the decision to include the ballet music. There was no point to it, it held up the action and the tension and the music is not of any distinction. Otherwise this was a production that was never less than interesting and at times totally gripping.
It is easy to dismiss Glyndebourne as a ‘social’ event. There is an 85 minute dinner interval for the picnic (ours was gazpacho, poached salmon and strawberries and cream) or eating in one of the opera house's restaurants. And it is true that it does attract a largely mature and very smart audience: dinner jackets for the men; posh frocks for the ladies. But the standard of the opera is very high indeed and the whole thing continues to set the standard for country house opera. I found it a quite delightful experience.
We assembled at Victoria Station, complete with picnic hamper and all the necessary food and drink. The train to Lewes took just over an hour and then we were met by a coach from the opera house itself. Despite dire weather warnings, by the time we arrived at Glyndebourne it was a perfect summer afternoon. We selected our spot in the garden and unloaded our picnic. There was then time for a walk around the lake, and a glass of champagne enjoying the afternoon sunshine and admiring the Sussex countryside before we made our way to the opera house.
Opera here started in the 1930s in a converted barn seating just over 300. In the early 1990s a completely new opera house was built. It seats about 1150, is in a traditional horseshoe design but cleverly keeps the twin Glyndebourne themes of ‘summer’ and ‘country’. Inside there are no velvet drapes but instead exposed wood. The outside steps are still in stone or concrete and the balconies around the house are all open: extensively used for opera-goers’ picnics when it is raining.
The opera was Verdi’s”Macbeth”. Glyndebourne have a very careful casting policy. You will not see big names here but you will often catch young singers on the verge of a major career: Sutherland, Pavarotti, Caballe and Alagna all sang here as youngsters. Alternatively you may catch little-known singers who have been carefully chosen because they fit a certain role in a theatre of this size. The latter was the case here.
The title role was sung by Andrzej Dobber, who fulfilled all the vocal and dramatic requirements of the role perfectly well. Even better was Sylvie Valayre as Lady Macbeth, her steely soprano voice just right for the part and well up to the “Cherie Blair” characterisation of Richard Jones’s production. I thought the outstanding vocal performance came from Stanislav Shvets’s sonorous Banquo and it was nice to see Opera North regular Peter Auty as Macduff. The resident orchestra is the London Philharmonic, who played superbly under Damien Iorio.
The production was by Richard Jones. Not always an easy director, I thought his style, often with large elements of back humour, worked well in this opera. There were lots of kilts for the men and the witches were three generations of Glasgow lassies: grannies, mums and short-skirted teenagers. They cooked their witches brew over an exploding gas cooker. After the murder of Banquo (chillingly portrayed), his head is brought to Macbeth in a cardboard box stained with blood – and it is this box that reappears to provoke Macbeth’s outburst during the banquet scene – and even followed him around the stage. Lady Macbeth’s sleep-walking scene was also vividly done with her repeatedly putting on white gloves, only to immediately peel them off and throw them into a washing machine.
The biggest miscalculation of the evening was the decision to include the ballet music. There was no point to it, it held up the action and the tension and the music is not of any distinction. Otherwise this was a production that was never less than interesting and at times totally gripping.
It is easy to dismiss Glyndebourne as a ‘social’ event. There is an 85 minute dinner interval for the picnic (ours was gazpacho, poached salmon and strawberries and cream) or eating in one of the opera house's restaurants. And it is true that it does attract a largely mature and very smart audience: dinner jackets for the men; posh frocks for the ladies. But the standard of the opera is very high indeed and the whole thing continues to set the standard for country house opera. I found it a quite delightful experience.
Wednesday, June 20, 2007
Festival of St Isidore
Las Ventas is the bullfighting ring in Madrid and it is one of the largest and most famous in the world. The Festival of St Isidore runs from late May into early June and is the highlight of the Madrid bullfighting season. The survival of bullfighting in Spain, Portugal and South America is an extraordinary social and cultural phenomenon. On the final day of the St Isidore Festival (which I attended) the 25,000 seat Las Ventas was sold out.
A classic Corrida will see six bulls dispatched, two each by three toreros. Each individual bull fight is divided into four distinct phases. In the first the bull is released into the ring and the Torero's assistants will attract its attention to different parts of the ring by making passes with large fluorescent pink capes. The torero himself will then emerge and make some genuine close passes, using the same large pink cape: if he does well he might garner a few shouts of 'ole' from the crowd. At a signal from the trumpet the picadors then enter the ring. These men are on horseback and armed with long lances. It is then the job of the torero and his assistants to lead the bull to the picador so that the picador can spear the bull behind its head, causing blood to flow. Another blast from the trumpet is the signal for the picadors to leave and the third phase then starts. This is the work of the banderilleros who run at the bull and place pairs of brightly coloured rods with sharp hooks on their ends into the bull's neck. The banderilleros have to be nifty on their feet to get in close enough to do this and then run off before the bull catches them. The final phase is performed by the torero, working on his own. He is now equipped with the famous red cape, held stiff by a wooden rod and ornamental sword. His task is to work as close as he can to the bull, making it follow the red cape and thus pass and repass around him. For the final stages, the ornamental sword is changed for a sharp, slightly curved weapon. The torero uses the red cape to draw the bull's head down and then puts the sword in just behind the bull's head. Done properly, the sword plunges in to its hilt and the bull dies quickly and cleanly.
My visit to Las Ventas was something of a disappointment. I had hoped to see some really top toreros (who can be quite thrilling to watch for their skill and courage as they 'work' the bull) but it was not to be. The best of the three was Manuel Jesus "El Cid", who showed real skill in his work with the cape. He could not manage a clean kill in either of his fights however. He received the only 'curtain call' of the evening. Miguel Abellan showed a taste for the flamboyant by meeting his second bull in the centre of the ring on his knees. The weakest torero of the evening was Miguel Angel Perera. He repeatedly got his red cape tangled up in the bull's horns, but worse was to befall him. In trying to kill his first bull he missed the target badly and caused some terrible haemorrhage, so the bull starting vomiting blood. The crowd disliked this enormously and waves of booing and whistling resulted. He was even booed as he left the ring at the end of the Corrida.
A disappinting evening but not quite enough to put me off this extraordinary activity, objectively disgusting, yet also sometimes wonderfully thrilling.
Highlights of "El Cid"'s evening can be seen here:-
Wednesday, June 13, 2007
Il Trovatore in Madrid
This was my first visit to the Teatro Real, which is celebrating ten years since its re-opening after refurbishment. A traditional ‘horseshoe’ house (still with tiers made up largely of boxes) is now fronted by elegant modern staircases and surrounded by some extravagantly decorated reception rooms. In all this space there did not seem many places to get a drink however.
I had planned this trip to catch Roberto Alagna as Manrico, his recording of this opera being one of my favourites. Sadly he cancelled just a few weeks before the performance.
His replacement was Francisco Casanova, a burly man and not a natural stage animal. His singing started off well enough but proved variable as the evening wore on. At times his voice lost tone and he had a tendency to shout at dramatic moments. His “Di quella pira” went for little and he was left stranded at the front of the stage as the applause quickly petered out. There were other times when he sounded very good. He reminded me of Salvatore Licitra: another ‘almost there’ tenor.
The star performance of the evening came from Dolora Zajick as Azucena. From her rasping chest tones to the top of the voice (with the occasional additional high note) this was a demonstration that old-fashioned grand Verdi singing still does exist – and how effective it is. She was acclaimed by the audience at the end of the performance.
Almost in the same class was Fiorenza Cedolins as Leonora. Not an intrinsically beautiful voice, it is even and well-controlled and used with great skill and taste. She was able to command the grander moments of Leonora’s music and also negotiate the intricate difficulties of the Miserere scene. I had never heard her before and was very impressed.
Anthony Michaels Moore was a reliable if not memorable Di Luna and there was a rich-voiced Ferrando from Raymondo Aceto.
The conductor was Nicola Luisotti. There were many things to admire in his conducting: the singers were always audible, there was real dramatic bite; a lot of orchestral detail was cleverly brought out. There was nothing of the routine and the orchestra were clearly enjoying playing for him. But there was a downside. Most numbers started at a fast speed only to be pulled back by huge rallentandos, sometimes literally halving the speed. He also had a tendency to insert long unwritten pauses, especially at cadential moments. It was all rather like being driven by a taxi driver who roars away from the lights only to stamp on the brake when approaching a slight bend in the road.
The production was directed by Elijah Moshinsky and was new at Covent Garden a couple of seasons ago. It looked handsome and was mostly an effective conventional staging. I was glad to see that the ridiculous camp sword swinging during the Soldiers’ Chorus has gone – to be replaced with some ‘proper’ sword fighting. Leonora goes to make her vows in what looks like a railway station and I still can’t work out what the giant furnaces are in the gypsy encampment. But this is a good mainstream Trovatore production that could be put on any stage without shame.
I had planned this trip to catch Roberto Alagna as Manrico, his recording of this opera being one of my favourites. Sadly he cancelled just a few weeks before the performance.
His replacement was Francisco Casanova, a burly man and not a natural stage animal. His singing started off well enough but proved variable as the evening wore on. At times his voice lost tone and he had a tendency to shout at dramatic moments. His “Di quella pira” went for little and he was left stranded at the front of the stage as the applause quickly petered out. There were other times when he sounded very good. He reminded me of Salvatore Licitra: another ‘almost there’ tenor.
The star performance of the evening came from Dolora Zajick as Azucena. From her rasping chest tones to the top of the voice (with the occasional additional high note) this was a demonstration that old-fashioned grand Verdi singing still does exist – and how effective it is. She was acclaimed by the audience at the end of the performance.
Almost in the same class was Fiorenza Cedolins as Leonora. Not an intrinsically beautiful voice, it is even and well-controlled and used with great skill and taste. She was able to command the grander moments of Leonora’s music and also negotiate the intricate difficulties of the Miserere scene. I had never heard her before and was very impressed.
Anthony Michaels Moore was a reliable if not memorable Di Luna and there was a rich-voiced Ferrando from Raymondo Aceto.
The conductor was Nicola Luisotti. There were many things to admire in his conducting: the singers were always audible, there was real dramatic bite; a lot of orchestral detail was cleverly brought out. There was nothing of the routine and the orchestra were clearly enjoying playing for him. But there was a downside. Most numbers started at a fast speed only to be pulled back by huge rallentandos, sometimes literally halving the speed. He also had a tendency to insert long unwritten pauses, especially at cadential moments. It was all rather like being driven by a taxi driver who roars away from the lights only to stamp on the brake when approaching a slight bend in the road.
The production was directed by Elijah Moshinsky and was new at Covent Garden a couple of seasons ago. It looked handsome and was mostly an effective conventional staging. I was glad to see that the ridiculous camp sword swinging during the Soldiers’ Chorus has gone – to be replaced with some ‘proper’ sword fighting. Leonora goes to make her vows in what looks like a railway station and I still can’t work out what the giant furnaces are in the gypsy encampment. But this is a good mainstream Trovatore production that could be put on any stage without shame.
Friday, May 04, 2007
A Trip to Vienna (2)
Sunday morning was the Lipizzaner stallions at the Spanish Riding School. Seeing these fully mature stallions performing their intricate choreography and spectacular acrobatics was one of the special experiences of Vienna.
Visits to the beautiful Augustiner Kirche, the Stephansdom and the Peterskirche made up our Church visiting. I reckon that the last is now an Opus Dei Church and a priest friend reckons that the Karlskirche may be so as well. Our sight-seeing for the day was completed with a visit to the Punkhalle: the wonderful baroque library within the Hofburg Palace. The special display was of "Loyal Addresses" to the Emperor Franz Josef, many of them contained in rich and elaborate cases. It was interesting to note those coming from Muslim and Jewish groups: it would seem that multi-culturism was not an alien concept to the Austro-Hungarian Empire.
Sunday evening was Mahler's seventh symphony, played by the Bayerische Rundfunks Orchestra conducted by Maris Janssons at the Muzikverein. This was a little disappointing. The 'front of house' at the concert hall is very poor. There are only bare stone steps up to the balcony level and bars and other 'facilities' were in very short supply.
The concert hall itself is very spectacular to look at and it has a very rich acoustic. But it also has the feeling that more people have been packed into it than really should be there. We were sitting on something like kitchen chairs, had no view of the conductor and could only see about one third of the orchestra. To listen to a difficult and long Mahler symphony in these conditions was quite a challenge.
Dinner after the concert was at the Korso restaurant in the Hotel Bristol - rated by the "Top 10" guide as the best restaurant in Vienna. Very traditional and formal, we felt at home there in our dinner jackets - and the food was excellent: lovely lamb and more terrific desserts.
Monday morning was a visit to the beautiful baroque Karlskirche. I was surprised to be charged an admission fee for this and even more surprised that, having been charged the full fee, half the church was under scaffolding and plastic tarpaulins while restoration work is carried out.
An attempt to get into the opera museum was unsuccessful - closed on Mondays. So we walked around the outside of the Hofburg Palace in the sunshine instead.
Our hotel - Das Triest - was generally very nice although our room was not big and inclined to be a bit stuffy. The weather was beautiful (shirt sleeves during the day).
This was an unforgettable weekend in one of Europe's most beautiful and cultured cities.
Tuesday, May 01, 2007
A Trip to Vienna
Loyal readers of this blog will know how much I enjoyed Laurent Pelly's new production of Donizetti's "La Fille du Regiment" when it was first performed at the Royal Opera House in January.
With a little difficulty (and at not inconsiderable expense) I managed to secure a ticket for the final night of its second outing - at the Vienna Staatsoper. Having enjoyed it so much in London I feared possible disappointment but, on the contrary, this was if anything an even more thrilling and enjoyable evening.
The production was very much the same. The humour was a little broader (more slapstick) in places. The Duchesse de Crackentorp disappeared from stage before the denouement - possible because of Monsterrat Caballe's physical condition. There was a lot more back-chat with the audience - some of it obviously ad-lib.
In the title role Natalie Dessay repeated and built on her triumph in London. Not only was her acting completely compelling but every note was absolutely spot-on. This was a performance of astonishing accomplishment.
Is Tonio Florez's best role? It seems to suit him both vocally and dramatically to perfection and I cannot think of any way his performance could be improved.
Carlos Alvarez was a much more gritty Sulpice than Corbelli had been in London but that made him more rather than less convincing in the role. Janina Baechle could not match Felicity Palmer's wonderfully eccentric grande dame as the the Marquise de Berkenfield but was more than acceptable.
Montserrat Caballe's first entrance as the Duchesse de Crackentorp was greeted with great applause. While waiting for Marie's delayed appearance she offered to swing a Swiss folk song - and then did so. Of course the voice is long past its sell-by date but the audience cheered. Caballe herself stopped the applause at which point there was a shout from the audience (in German) of 'we love you!'. More applause. Caballe responded 'I love you all too, but we must get on with the opera...'
The orchestral playing was as good as at Covent Garden, with particular mention for the wonderfully warm playing from the cellos in the second act. Yves Arbel was generally a much more alert conductor than Campanella; the speeds were generally faster, the rhythms sharper and I felt that overall the musical performance had much more bite.
Last but not least - the audience. The Viennese have a reputation for discernment and sophistication and it soon became clear that they recognised just what a remarkable performance this was. Several times Dessay had to act (usually staying within character) - not to acknowledge the applause but to quell it. After Florez's first act aria the house exploded; after minutes of 'bravos' the shouts turned into 'bis' and - yes -we did get the encore. The final top C of the encore flew into the house and went on, and on , and on... A mid-act standing ovation followed. More shouts of 'bis' followed Dessay's "Salut a la France", only controlled by her breaking free of the chorus and continuing with the dialogue.
I don't know how long the curtain calls lasted. The clapping, the stamping and the bravos were still going strong when I left after 25 minutes because I was worried about my supper reservation.
A night at the opera I will never forget.
And supper at the Hotel Sacher was very good too: elegant surroundings, impeccable service and delicious Tafelspitz and Sachertorte.
Sunday, April 22, 2007
Mayerling
The revival of Kenneth Macmillan's ballet "Mayerling" promised to be a highlight of the Royal Ballet's season at Covent Garden.
I was there on Saturday evening (14 April) and I must confess to finding it a little disappointing.
The ballet tells the story of the Crown Prince Rudolf of Austria, whose life ended in a double death with his 17 year old mistress Mary Vetsera at the hunting lodge Mayerling. The music is a wonderful selection from Liszt's music put together and orchestrated by John Lanchbery, who described the task of assembling the material as 'a month enjoyably exhausting as any I remember'. The three act ballet enables Macmillan to show off many of his best qualities as a choreographer: real drama, yet allied with proper dancing; innovative and thrilling movements for the dancers.
Yet I still have my doubts about the work itself.
The story is too complex. There are too many characters (22 named characters plus the four Hungarian Officers). There are too many ladies in long frocks and too many men in moustaches: it took me the first few minutes of every scene to work out who was who - and then sometimes I got it wrong. The three pas de deux that end each of the three acts are individually stunning but too similar in style. To have the four Hungarian Officers hiding in the curtains once is a bit silly: to do it twice is absurd. There are too many 'ladies of the bedchamber' scenes, which look like padding. Too much of the work is not actually danced, which gives the piece something of the air of a silent film and makes the dancing when it starts appear somewhat incongruous.
Martin Harvey played Rudolf (his debut in the role?). He started tentatively but warmed up as the evening went on. His dancing and partnering were both hard to fault yet I felt he conveyed little of the character. His main attempt at showing Rudolf's madness was a fixed manic grin.
The women were rather better: Tamara Rojo as Mary and, especially, Victoria Hewitt as Stephanie - I thought her performance in the first pdd was excellent.
There was some superb showy dancing from Zachary Faruque, Valeri Hristov, Kenta Kura and Ernst Meisner as the four Hungarian Officers - although they did drop Martin Harvey on the floor at one point!
A special mention too for Paul Kay as Bratfisch: I love that jump he does with a wiggle of the hips.
I was there on Saturday evening (14 April) and I must confess to finding it a little disappointing.
The ballet tells the story of the Crown Prince Rudolf of Austria, whose life ended in a double death with his 17 year old mistress Mary Vetsera at the hunting lodge Mayerling. The music is a wonderful selection from Liszt's music put together and orchestrated by John Lanchbery, who described the task of assembling the material as 'a month enjoyably exhausting as any I remember'. The three act ballet enables Macmillan to show off many of his best qualities as a choreographer: real drama, yet allied with proper dancing; innovative and thrilling movements for the dancers.
Yet I still have my doubts about the work itself.
The story is too complex. There are too many characters (22 named characters plus the four Hungarian Officers). There are too many ladies in long frocks and too many men in moustaches: it took me the first few minutes of every scene to work out who was who - and then sometimes I got it wrong. The three pas de deux that end each of the three acts are individually stunning but too similar in style. To have the four Hungarian Officers hiding in the curtains once is a bit silly: to do it twice is absurd. There are too many 'ladies of the bedchamber' scenes, which look like padding. Too much of the work is not actually danced, which gives the piece something of the air of a silent film and makes the dancing when it starts appear somewhat incongruous.
Martin Harvey played Rudolf (his debut in the role?). He started tentatively but warmed up as the evening went on. His dancing and partnering were both hard to fault yet I felt he conveyed little of the character. His main attempt at showing Rudolf's madness was a fixed manic grin.
The women were rather better: Tamara Rojo as Mary and, especially, Victoria Hewitt as Stephanie - I thought her performance in the first pdd was excellent.
There was some superb showy dancing from Zachary Faruque, Valeri Hristov, Kenta Kura and Ernst Meisner as the four Hungarian Officers - although they did drop Martin Harvey on the floor at one point!
A special mention too for Paul Kay as Bratfisch: I love that jump he does with a wiggle of the hips.
Sunday, April 15, 2007
A Big Frock
The dress worn by Joan Sutherland in the Royal Opera House's production of Donizetti's "Lucrezia Borgia" is on display in the foyer of the Royal Opera House. It is a magnificent costume, notable for its closely detailed decoration.
And thanks to youtube, the costume and its wearer can be seen in action!
This is one of my very favourite Sutherland clips. Recorded in 1980 it shows what she could do at the end of a long and taxing role. It shows the huge power of the Sutherland voice ( a voice that could have sung Isolde). It shows the extraordinary range of the voice. It demonstrates her extraordinary ability in fioriture, without losing any vocal quality. And it is capped by a wonderful "Sutherland special" a fully voiced top E flat.
Enjoy!
http://www.youtube.com/watch?v=Z7E445edhyw&feature=related
And thanks to youtube, the costume and its wearer can be seen in action!
This is one of my very favourite Sutherland clips. Recorded in 1980 it shows what she could do at the end of a long and taxing role. It shows the huge power of the Sutherland voice ( a voice that could have sung Isolde). It shows the extraordinary range of the voice. It demonstrates her extraordinary ability in fioriture, without losing any vocal quality. And it is capped by a wonderful "Sutherland special" a fully voiced top E flat.
Enjoy!
http://www.youtube.com/watch?v=Z7E445edhyw&feature=related
Friday, April 06, 2007
La Fille du Regiment
Laurent Pelly's brilliant new production is now conquering Vienna, as it did London two months ago. All performances are sold out, with waiting lists for returns. I hope to be there for the last night of the run on 28 April. Florez and Dessay again play the leading roles with Montserrat Caballe as the Duchesse de Crakentorp.
The first night was televised and here are some clips I have found on Youtube.
Florez and Dessay in the Act I duet...
http://www.youtube.com/watch?v=O0PnaeCOyWs
Florez sings “Ah Mes Amis”...
Florez singing 'Pour me rapprocher de Marie'...
And here is what the audience at Covent Garden thought of it all...
http://www.youtube.com/watch?v=8BglLP9Rw8E
And finally, two stars from a previous generation:-
Sutherland and Kraus in the Act I duet (recorded 1987)...
The first night was televised and here are some clips I have found on Youtube.
Florez and Dessay in the Act I duet...
http://www.youtube.com/watch?v=O0PnaeCOyWs
Florez sings “Ah Mes Amis”...
Florez singing 'Pour me rapprocher de Marie'...
And here is what the audience at Covent Garden thought of it all...
http://www.youtube.com/watch?v=8BglLP9Rw8E
And finally, two stars from a previous generation:-
Sutherland and Kraus in the Act I duet (recorded 1987)...
Wednesday, April 04, 2007
Royal Opera's New Season 2007-8
The season opens on 10 September with Gluck’s “Iphigenie en Tauride” in a production by Robert Carsen shared with Chicago and San Francisco. Carsen’s productions tend to be sparse but beautiful: his “Eugen Onegin” at the Met didn’t quite work but his “Dialogue des Carmelites” for Netherlands Opera was stunning. This early opera might well suit his style. The cast is led by two big names, Susan Graham and Simon Keenlyside, and the musical direction is in the specialist hands of Ivor Bolton with the Orchestra of the Age of Enlightenment.
October is taken up with three Ring cycles. I have already written about these and they are sold out.
Normal service resumes in mid-November with another shared production, this time of Donizetti’s “L’Elisir d’Amore”. The director is Laurent Pelly who had such a success with “La Fille du Regiment this season. Rolando Villazon and Paolo Gavanelli are strong casting as Nemorino and Dulcamara. Aleksandra Kurzak sings Adina.
December brings what should be one of the highlights of the season: “Parsifal” conducted by Haitink. I am disturbed to see that this is a revival of the production by Klaus Michael Gruber, originally created for Netherlands Opera. I am encouraged to see that it is only ‘based on’ that original. I hope that the piece of coal representing the Grail will have gone; Amfortas will no longer be pushing round a long arm splint with a wheel at the end of it; and Klingsor will now have a castle and not a dolphinarium. The musical side looks very good: Christopher Ventris as Parsifal, Falk Struckmann as Amfortas, John Tomlinson as Gurnemanz, Willard White as Klingsor and Petra Lang as Kundry.
Christmas time brings “La Cenerentola”, with Toby Spence taking the role created by Florez in this production. Will Magdalena Kozena appear? The only time I tried to hear her she cancelled. If she does sing, is Rossini really her fach? I don’t think I shall be rushing for a ticket for this one.
Some starry casting for “La Traviata” in January and February: Anna Netrebko and Norah Amsellem as Violetta, with Jonas Kaufmann and Dmitri Horostovksy playing the male roles in cast A.
February also brings a revival of “Die Zauberfloete”, most notable for Kate Royal as Pamina and Keenlyside as Papageno.
The first entirely new production of the season comes with “Salome”, conducted by Philippe Jordan and directed by David McVicar. The director’s previous two efforts for the ROH, “Faust” and “Le Nozze di Figaro” were both outstanding. The title role will be sung by Nadja Michael.
The revival of “Eugen Onegin” in March might be worth catching for Marina Poplavskaya’s Tatyana and Piotr Beczala’s Lensky, as might “Carmen” for Marcelo Alvarez as Don Jose.
The ROH are obviously pinning high hopes on their World Premiere in April. Their commitment to new opera has been a bit hit and miss so far: “Sophie’s Choice” not a great success; Thomas Ades’s “The Tempest” a triumph; and Lorin Maazel’s “1984” a joke. So now we have “The Minotaur” from Harrison Birtwhistle with John Tomlinson in the title role and Pappano conducting. For anyone with an interest in new opera, a production not to be missed.
This will be followed by a fairly routine revival of “Simon Boccanegra”, with Marcus Haddock as Gabriele Adorno. He always sticks in my mind as the tenor who went into falsetto when singing Faust in a Met broadcast. The May revival of “Tosca” gives no cast but is notable for being conducted by Pappano: when he conducted this production when new I thought it some of the best Puccini conducting I had ever heard.
June brings what should be the outstanding new production of the season: Verdi’s “Don Carlo” directed by Nicholas Hytner and conducted by Pappano. The cast is led by Villazon and Poplavskaya, with Keenlyside as Rodrigo, Sonia Ganassi as Eboli and Ferriuccio Furlanetto as Philip II. I vividly remember the last ROH production of “Don Carlos” with Alagna, Mattila, Hampson and van Dam. That was one of my greatest ever evenings in the opera house. I hope this new production can match it.
A quick note of Thomas Ades’s “Powder her Face” in the Linbury Theatre. Ades’s first opera, which includes the infamous ‘cock-sucking’ aria.
Back in the main theatre, the season continues with “Ariadne auf Naxos” with Deborah Voigt(!) as Ariadne. This is followed by a strong revival of David McVicar’s excellent production of “Le Nozze di Figaro”, conducted by Charles Mackerras and with Barbara Frittoli as the Countess and Ildebrando D’Arcangelo as Figaro.
In July Sally Matthews, who impressed me so much in Munich’s “La Calisto” sings Anne Trulove in “The Rake’s Progress”. These performances will be conducted by Thomas Ades. I wish he would spend less time conducting and compose another opera himself.
The seaon ends with what looks like a fairly routine revival (its 21st) of John Copley’s production of “La Boheme”. Most notable among the casting is Nicole Cabell as Musetta.
October is taken up with three Ring cycles. I have already written about these and they are sold out.
Normal service resumes in mid-November with another shared production, this time of Donizetti’s “L’Elisir d’Amore”. The director is Laurent Pelly who had such a success with “La Fille du Regiment this season. Rolando Villazon and Paolo Gavanelli are strong casting as Nemorino and Dulcamara. Aleksandra Kurzak sings Adina.
December brings what should be one of the highlights of the season: “Parsifal” conducted by Haitink. I am disturbed to see that this is a revival of the production by Klaus Michael Gruber, originally created for Netherlands Opera. I am encouraged to see that it is only ‘based on’ that original. I hope that the piece of coal representing the Grail will have gone; Amfortas will no longer be pushing round a long arm splint with a wheel at the end of it; and Klingsor will now have a castle and not a dolphinarium. The musical side looks very good: Christopher Ventris as Parsifal, Falk Struckmann as Amfortas, John Tomlinson as Gurnemanz, Willard White as Klingsor and Petra Lang as Kundry.
Christmas time brings “La Cenerentola”, with Toby Spence taking the role created by Florez in this production. Will Magdalena Kozena appear? The only time I tried to hear her she cancelled. If she does sing, is Rossini really her fach? I don’t think I shall be rushing for a ticket for this one.
Some starry casting for “La Traviata” in January and February: Anna Netrebko and Norah Amsellem as Violetta, with Jonas Kaufmann and Dmitri Horostovksy playing the male roles in cast A.
February also brings a revival of “Die Zauberfloete”, most notable for Kate Royal as Pamina and Keenlyside as Papageno.
The first entirely new production of the season comes with “Salome”, conducted by Philippe Jordan and directed by David McVicar. The director’s previous two efforts for the ROH, “Faust” and “Le Nozze di Figaro” were both outstanding. The title role will be sung by Nadja Michael.
The revival of “Eugen Onegin” in March might be worth catching for Marina Poplavskaya’s Tatyana and Piotr Beczala’s Lensky, as might “Carmen” for Marcelo Alvarez as Don Jose.
The ROH are obviously pinning high hopes on their World Premiere in April. Their commitment to new opera has been a bit hit and miss so far: “Sophie’s Choice” not a great success; Thomas Ades’s “The Tempest” a triumph; and Lorin Maazel’s “1984” a joke. So now we have “The Minotaur” from Harrison Birtwhistle with John Tomlinson in the title role and Pappano conducting. For anyone with an interest in new opera, a production not to be missed.
This will be followed by a fairly routine revival of “Simon Boccanegra”, with Marcus Haddock as Gabriele Adorno. He always sticks in my mind as the tenor who went into falsetto when singing Faust in a Met broadcast. The May revival of “Tosca” gives no cast but is notable for being conducted by Pappano: when he conducted this production when new I thought it some of the best Puccini conducting I had ever heard.
June brings what should be the outstanding new production of the season: Verdi’s “Don Carlo” directed by Nicholas Hytner and conducted by Pappano. The cast is led by Villazon and Poplavskaya, with Keenlyside as Rodrigo, Sonia Ganassi as Eboli and Ferriuccio Furlanetto as Philip II. I vividly remember the last ROH production of “Don Carlos” with Alagna, Mattila, Hampson and van Dam. That was one of my greatest ever evenings in the opera house. I hope this new production can match it.
A quick note of Thomas Ades’s “Powder her Face” in the Linbury Theatre. Ades’s first opera, which includes the infamous ‘cock-sucking’ aria.
Back in the main theatre, the season continues with “Ariadne auf Naxos” with Deborah Voigt(!) as Ariadne. This is followed by a strong revival of David McVicar’s excellent production of “Le Nozze di Figaro”, conducted by Charles Mackerras and with Barbara Frittoli as the Countess and Ildebrando D’Arcangelo as Figaro.
In July Sally Matthews, who impressed me so much in Munich’s “La Calisto” sings Anne Trulove in “The Rake’s Progress”. These performances will be conducted by Thomas Ades. I wish he would spend less time conducting and compose another opera himself.
The seaon ends with what looks like a fairly routine revival (its 21st) of John Copley’s production of “La Boheme”. Most notable among the casting is Nicole Cabell as Musetta.
Monday, April 02, 2007
Britten's War Requiem
Written to mark the opening of the new Coventry Cathedral in the 1952, Benjamin Britten's War Requiem is one of the great choral masterpieces of the twentieth century.
Interspersed with the texts of the traditional Requiem Mass are war poems by Wilfred Owen. The forces used are a large choir and orchestra with soprano soloist for the Mass texts (occasionally joined by an off-stage boys' chorus) with a chamber orchestra accompanying tenor and baritone in the settings of the war poems.
The settings of the Mass texts tend towards the dramatic and owe much to Verdi's setting. That is not to say that Britten's version is a copy or even, properly speaking, derivative; more that he had learned the most important lesson from his great Italian predecessor: that the words of the Requiem provide huge scope for dramatic and musical effects.
The settings of the war poems are more conventionally Britten's style - beautiful word setting and proper vocal lines.
I select just two of the many moments of genius in this work. First the Offertorium. Picking up on the reference to 'Abraham and his seed' in the Latin text, Britten then takes us to Owen's poem "So Abram rose" with its horrible conclusion 'But the old man ... slew his son - and half the seed of Europe, one by one'. The boys then come in with the verse from the Offertory 'sacrifices and prayer and praise we offer thee O Lord' as the men soloists (slightly off the beat from each other) repeat again and again the shocking last words of the poem.
Secondly the ending. After a dramatic "Libera me" from chorus and soprano, the tenor and baritone sing as two men who meet in the afterlife: 'I am the enemy you killed, my friend'. And as the boys sing "In Paradisum" the two men sing 'let us sleep' before the chorus bring the whole work to and end with the final hushed "Requiescant in pace. Amen".
At the centre of Saturday's performance at The Sage was the Huddersfield Choral Society, living up to their high reputation, and impressing particularly in their wonderful whispered, yet still properly vocalised singing of the opening and closing of the work.
The boys chorus (from Croydon) were placed right at the back of the highest level of the hall so where I was sitting (centre stalls) provided just the right shock of ethereal sound from an unexpected direction.
Janice Watson was the soprano soloist, set high on the top level above the chorus and vocally soaring over them.
The two men were Paul Nilon and Grant Doyle, both excellent but the latter particularly impressive not just vocally but dramatically. If I were the Intendant of an opera house I would be asking Mr Doyle when he would like to do his first Billy Budd...
The 'big' orchestra was the Orchestra of Opera North and the chamber orchestra members of the Northern Sinfonia. Sometimes the big orchestra and the chamber orchestra have their own conductors but this performance was all under the direction of Takuo Yuosa - and what a brilliant job he did.
Monday, March 26, 2007
Sexual Orientation Regulations (2)
The full debate in the House of Lords is now available in Hansard (accessible via the House of Lords website). Here is what I thought was the most impressive speech.
Baroness Howarth of Breckland: My Lords, I speak without a prepared speech but with a heavy heart. As a Christian woman, I find this an extraordinarily difficult and distressing debate. It is distressing because we are not really prepared to face the fundamental issue. I have listened to speeches in which noble Lords have said, “We respect gay people, but...”. The issue is not about rights; if it were, we would not be having this debate. It is about whether noble Lords accept gay people as equal human beings.
Two hundred years ago, William Wilberforce made a speech in Parliament that freed black people to be equal human beings. I hope that this evening your Lordships will vote for these regulations. I have some quarrel with the way in which the regulations have been brought forward, but I hope that noble Lords will vote to underline that gay people are equal human beings with others.
I say this as a Christian woman. I have listened to the most reverend Primate the Archbishop of York, and I listened to the Catholic archbishop on the radio this morning, a very dear and wonderful man. He was struggling because he was trying hard not to appear prejudiced, but he was saying two things. Those noble Lords who are this evening saying two things are breaking their principles. If a Catholic organisation says, “Our principles do not allow us to place a child with a homosexual couple, but we are prepared to send it somewhere else for someone else to do it”, where is the underlying principle? Why will that organisation not do it but allow someone else to if it believes that that child will not have an appropriate home?
I have spent most of my life working in social care, a good deal of it worrying about the protection of children. In adoption, there is one principle and one principle only—the needs of the child are paramount. Whatever the family, whatever their colour, creed or sexual orientation, they have no right to the child. The child has the right to the home. Any good adoption agency will spend its time making that assessment. However, an adoption agency may decide that it will not place some children because it does not like the placement that it has found. For example, I know two male nurses in Scotland who are both gay. They were working with a youngster in a wheelchair who is extraordinarily disabled and extraordinarily difficult. Had they not given that child a home, he would have spent his life in an institution. That is true of many of the children to whom gay couples give homes. These are not easy children. We are not talking about handing babies to a couple of gay men—not that I think that there is anything wrong with that. I know gay male couples who have given extraordinarily good homes to children. But any adoption agency is likely to place a child with a family where there is a mother and a father. If there is not such a family and there is a good homosexual couple available who can give the child a home—the alternative being an institution—I would hope that the agency would place the child with them.
For many years, I was the chief executive of Childline. During the time of Section 28, not because I had any interest in it, I looked at some of the issues around bullying. We talked to teachers about homophobic bullying. Since the removal of Section 28, I have found no problems of schools being told that they have to give education about gay rights. My experience was of teachers terrified of intervening on behalf of children who were being seriously bullied for being gay, because they thought that Section 28 meant that they would be in deep trouble. The converse is true: removing these kinds of statutes helps children. I do not for a moment think that governors—never mind the noble Lord, Lord Adonis, and his department—will allow the curriculum to be changed in order to accommodate issues that most are very careful about. I am talking about the whole spectrum of sexual education, which the noble Baroness, Lady Massey, knows so well.
As a Christian, I am deeply concerned. Christ told the story of the good Samaritan, who was an outcast; many gay people feel outcast. Returning to the beginning of my speech—which, I suppose, is not a speech—I say that this issue is about believing that homosexual people are equal. They are not remote sinners doing something that you may find difficult to face, but real people, who are prepared to contribute to society, to give good homes to children, to teach in our school and to live, on the whole, discreetly and kindly, and who deserve access to goods and services. Of course, children are not goods, but we are talking, in legislation, about access to services. Gay people deserve that as much as any of us, just as Wilberforce said that every black person deserved equal treatment. I commend the regulations to the House.
Two hundred years ago, William Wilberforce made a speech in Parliament that freed black people to be equal human beings. I hope that this evening your Lordships will vote for these regulations. I have some quarrel with the way in which the regulations have been brought forward, but I hope that noble Lords will vote to underline that gay people are equal human beings with others.
I say this as a Christian woman. I have listened to the most reverend Primate the Archbishop of York, and I listened to the Catholic archbishop on the radio this morning, a very dear and wonderful man. He was struggling because he was trying hard not to appear prejudiced, but he was saying two things. Those noble Lords who are this evening saying two things are breaking their principles. If a Catholic organisation says, “Our principles do not allow us to place a child with a homosexual couple, but we are prepared to send it somewhere else for someone else to do it”, where is the underlying principle? Why will that organisation not do it but allow someone else to if it believes that that child will not have an appropriate home?
I have spent most of my life working in social care, a good deal of it worrying about the protection of children. In adoption, there is one principle and one principle only—the needs of the child are paramount. Whatever the family, whatever their colour, creed or sexual orientation, they have no right to the child. The child has the right to the home. Any good adoption agency will spend its time making that assessment. However, an adoption agency may decide that it will not place some children because it does not like the placement that it has found. For example, I know two male nurses in Scotland who are both gay. They were working with a youngster in a wheelchair who is extraordinarily disabled and extraordinarily difficult. Had they not given that child a home, he would have spent his life in an institution. That is true of many of the children to whom gay couples give homes. These are not easy children. We are not talking about handing babies to a couple of gay men—not that I think that there is anything wrong with that. I know gay male couples who have given extraordinarily good homes to children. But any adoption agency is likely to place a child with a family where there is a mother and a father. If there is not such a family and there is a good homosexual couple available who can give the child a home—the alternative being an institution—I would hope that the agency would place the child with them.
For many years, I was the chief executive of Childline. During the time of Section 28, not because I had any interest in it, I looked at some of the issues around bullying. We talked to teachers about homophobic bullying. Since the removal of Section 28, I have found no problems of schools being told that they have to give education about gay rights. My experience was of teachers terrified of intervening on behalf of children who were being seriously bullied for being gay, because they thought that Section 28 meant that they would be in deep trouble. The converse is true: removing these kinds of statutes helps children. I do not for a moment think that governors—never mind the noble Lord, Lord Adonis, and his department—will allow the curriculum to be changed in order to accommodate issues that most are very careful about. I am talking about the whole spectrum of sexual education, which the noble Baroness, Lady Massey, knows so well.
As a Christian, I am deeply concerned. Christ told the story of the good Samaritan, who was an outcast; many gay people feel outcast. Returning to the beginning of my speech—which, I suppose, is not a speech—I say that this issue is about believing that homosexual people are equal. They are not remote sinners doing something that you may find difficult to face, but real people, who are prepared to contribute to society, to give good homes to children, to teach in our school and to live, on the whole, discreetly and kindly, and who deserve access to goods and services. Of course, children are not goods, but we are talking, in legislation, about access to services. Gay people deserve that as much as any of us, just as Wilberforce said that every black person deserved equal treatment. I commend the regulations to the House.
And here is a speech made by the Prime Minister a few nights later.
Tony Blair: It is a real honour to be here this evening at the Stonewall Equality dinner, and to say thank you to Ben for that kind introduction.
Just before I came here tonight - this is a sad reflection of type of thing you do towards the end of your time in office - I got out one of my old speeches and re-read it. It was a speech back in 1994, when, I think it was on an amendment by Edwina Currie and Neil Kinnock, interestingly enough, it wasn’t a combination that was often found. They had come together to move an amendment on equality on the age of consent. The thing that really struck me, re-reading the speech this evening, was just how a whole lot of things that nowadays we would more or less take for granted. you had to start literally with the very, very first principles. including arguments like: “how do you stop people being persuaded to be gay?”
The interesting thing is that you then fast-forward to last night in the House of Lords, and the fact is the vote was won, which is an incredible thing.
And I really just wanted to say two things about the changes that have happened over the past ten years, which you will know very well. There are a lot of important things, but I think civil partnerships is really the thing … as I was saying to people earlier, it doesn’t just give you a lot of pride, but it actually brought real joy. I don’t know whether you remember the very first day, and it was quite a bizarre circumstance that the first ceremonies were actually in Northern Ireland. I was so struck by it, it was so alive, I remember actually seeing the pictures on television. It is not often that you sort of skip around in my job, I can assure you, But it really the fact that that the people were so happy and the fact that you felt just one major, major change had happened, of which everyone can feel really proud. And now I think we were just saying, was it 16,000 civil partnerships, and what is interesting now is that other countries in Europe are looking at this legislation, and it is very divisive still in Spain and Italy at the moment. But nonetheless it is happening.
This is my second reflection about it all. There are a whole load of different pieces of legislation, which I will not rehearse here, but what has happened is that the culture of the country has changed in a definable way as a result of it. And here is what I think is really interesting. The change in the culture and the civilising effect of it has gone far greater than the gay and lesbian community. In other words, by taking a stand on these issues and by removing prejudice and discrimination, and by enabling people to stand proud as what they are, it has had an impact that I think is far more profound in the way the country thinks about itself.
And I want to say we have an immensely proud history, that is able to stand on its own merits in the 21st Century and say that we know we have a great future. One thing I think is very important for any country that is to succeed in the future you make the most of the talents and abilities of your people. If you allow discrimination to fester, that is a complete rejection of that modernising and civilising notion. That is what is really important and it is why as the day approaches that certainly I will look back on with a lot of pride.
However there is one final thing I wanted to say to you and it is this. Some people this evening have been very kind and said that it took a certain amount of political courage. Well yes it did, but you know I remember back in the early ‘80s when this type of issue was condemned as political correctness, when this was the loony-left, as it were, engaged in this. Stonewall, in my view, played a fundamental and often insufficiently recognised part in achieving this. I want to tell you why. When you are trying to do something that is difficult, divisive and when, as a politician, you do something that you know is going to be controversial … it is all very well saying well I want to do this and you can see some of you people are up for it and some of them are thinking “well, hmm”… What actually matters enormously is that the people from outside politics that you are trying to do it with have a sufficient intelligence and sensitivity, which I think has really defined the Stonewall campaign, I define it as a polite determination. In other words, a complete push and drive to get the thing done, but also a way of doing it that is always looking to bring people onside, that is always looking to understand sensitivities, that is always willing to say, "look, this is something we would like to help get done with you in a sensible and intelligent way." What Stonewall did, and Angela Mason, who I thought was absolutely fantastic when she was the Head, and now Ben what they did was remarkable and it is a real tribute.
And here we are this evening at the Stonewall Equality dinner, and a lot of the tables are from some of the best-known names in business and commerce, and this is part of the diversity agenda now of these big companies. Now everyone is entirely in favour of this. There is a greater competition for the so-called gay and lesbian vote. This is a fantastic thing that all the party leaders today, and in the future actually all of them will be, I think, in favour of equality. That is a sign of how much things have changed and actually we should not be worried about that, we should actually be proud of it. It is a great achievement for our country.
I just wanted to say this evening how deeply grateful I am for the invitation to come along and be here tonight with you at the Stonewall Equality dinner. I would like to thank each and every one of you for helping in what will be an important signal that you are part of the mainstream of our society today, and that progress does actually come about because people are determined. Thank you to you because we could not have done it without you and I do look back on it with pride and I wanted to share that with you.
This is my second reflection about it all. There are a whole load of different pieces of legislation, which I will not rehearse here, but what has happened is that the culture of the country has changed in a definable way as a result of it. And here is what I think is really interesting. The change in the culture and the civilising effect of it has gone far greater than the gay and lesbian community. In other words, by taking a stand on these issues and by removing prejudice and discrimination, and by enabling people to stand proud as what they are, it has had an impact that I think is far more profound in the way the country thinks about itself.
And I want to say we have an immensely proud history, that is able to stand on its own merits in the 21st Century and say that we know we have a great future. One thing I think is very important for any country that is to succeed in the future you make the most of the talents and abilities of your people. If you allow discrimination to fester, that is a complete rejection of that modernising and civilising notion. That is what is really important and it is why as the day approaches that certainly I will look back on with a lot of pride.
However there is one final thing I wanted to say to you and it is this. Some people this evening have been very kind and said that it took a certain amount of political courage. Well yes it did, but you know I remember back in the early ‘80s when this type of issue was condemned as political correctness, when this was the loony-left, as it were, engaged in this. Stonewall, in my view, played a fundamental and often insufficiently recognised part in achieving this. I want to tell you why. When you are trying to do something that is difficult, divisive and when, as a politician, you do something that you know is going to be controversial … it is all very well saying well I want to do this and you can see some of you people are up for it and some of them are thinking “well, hmm”… What actually matters enormously is that the people from outside politics that you are trying to do it with have a sufficient intelligence and sensitivity, which I think has really defined the Stonewall campaign, I define it as a polite determination. In other words, a complete push and drive to get the thing done, but also a way of doing it that is always looking to bring people onside, that is always looking to understand sensitivities, that is always willing to say, "look, this is something we would like to help get done with you in a sensible and intelligent way." What Stonewall did, and Angela Mason, who I thought was absolutely fantastic when she was the Head, and now Ben what they did was remarkable and it is a real tribute.
And here we are this evening at the Stonewall Equality dinner, and a lot of the tables are from some of the best-known names in business and commerce, and this is part of the diversity agenda now of these big companies. Now everyone is entirely in favour of this. There is a greater competition for the so-called gay and lesbian vote. This is a fantastic thing that all the party leaders today, and in the future actually all of them will be, I think, in favour of equality. That is a sign of how much things have changed and actually we should not be worried about that, we should actually be proud of it. It is a great achievement for our country.
I just wanted to say this evening how deeply grateful I am for the invitation to come along and be here tonight with you at the Stonewall Equality dinner. I would like to thank each and every one of you for helping in what will be an important signal that you are part of the mainstream of our society today, and that progress does actually come about because people are determined. Thank you to you because we could not have done it without you and I do look back on it with pride and I wanted to share that with you.
Sunday, March 25, 2007
Weekend at The Sage
Two concerts took me to The Sage this weekend: both of very high quality.
Friday evening was a Sinfonia night, conducted by Thierry Fischer. The opening work was new to me: Debussy's "La demoiselle elue". A work for soprano and mezzo soprano soloists, female chorus and orchestra, it is based on Rossetti's "The Blessed Damozel". It proved to be lovely sensuous music - similar in style to "Pelleas et Melisande" but, mercifully, much shorter.
This was followed by Ravel's "Mother Goose". I found this went on a bit and a lot of it seemed to go at much the same speed and sound very much the same.
After the interval came Stravinsky's Symphonies of wind instruments. I must admit to a bit of a nostalgic soft spot for this piece: it was the first piece I ever heard live at the Proms, conducted by Pierre Boulez in 1971! Even putting nostalgia aside, I still rate it as one of the minor classics of the twentieth century.
The concert was completed by Poulenc's brilliant Gloria. This exstatic music brought brilliant playing from the orchestra, a wonderful contribution from soprano soloist Christine Buffle and excellent singing from the Sinfonia Chorus, not only firm of tone but also with commendable clarity of diction.
This morning brought the last of the current season of BBC Sunday Morning Concerts devoted to Radio 3's New Generation Artists. This morning it was 26 year old pianist Eduard Kunz. He started with two Bach pieces, the playing notable particularly for his tasteful dynamic shading. This was followed by Ravel's extravagant and exotic showpiece "Gaspard de la nuit". The recital ended with Liszt's Paganini Etude.
I have managed three out of four of this BBC series: each one has been highly enjoyable and each has been better than the one before. This last in the series was breath-taking.
The Tempest at Covent Garden
I saw Thomas Ades's opera when it was new three years ago and was sufficiently impressed to want to see it again. I think I enjoyed it even more this time.
The musical style is modern but often lyrical (more Britten than Boulez). There is some extraordinary writing for the high soprano part of Ariel (think Queen of the Night, think Zerbinetta and then some). There are also some wonderful set pieces including a fine love duet for Miranda and Ferdinand to end Act II and a stunning quintet at the end of the opera.
Criticisms of the work? Apart from one or two memorable lines, the librettist Meredith Oakes eschews Shakespeare's language. Mostly this works pretty well, although the constant rhyming couplets do sound a bit twee. I also found some of the orchestral accompaniments a bit fussy and over-complex, particularly in the first act. But make no mistake, this is a fine work from a major talent and is in every sense a 'proper' opera.
The cast was led by Simon Keenlyside as Prospero. The part is not an easy one, taking the singer to both extremes of his vocal range but Keenlyside carried it off with vocal aplomb - at times sounding almost like a Wotan in waiting.
Cyndia Sieden has made the part of Ariel completely her own and this was another virtuoso performance. As well as all the high vocal fireworks she also sang a beautiful line in her more gentle solo.
Ian Bostridge is not one of my favourite singers but in Caliban Ades has created a role that suits his rather odd vocal style and stage appearance very well.
Other parts were taken by such distinguished singers as Philip Langridge and Jonathan Summers. The only weak link was Donald Kaasch as the 'baddy' Antonio - he had a tendency to shout.
The young lovers were played by Toby Spence and Kate Royal who both looked gorgeous and sang ravishingly: their duet was one of the highlights of the evening.
Ades himself conducted and the orchestra played superbly.
The production was by Tom Cairns. A basically simple set was used to imaginative effect and there was much scope for Prospero's magic (the imprisonment of Ferdinand, the magical banquet made inaccessible by fire).
A brilliant evening and a delight to see that high quality new opera can be produced in the twenty first century.
Wednesday, March 21, 2007
Sexual Orientation Regulations
I watched a substantial part of the debate in the House of Lords (on the parliamentary website).
The debate was of a high standard and conducted generally very politely. Lord Lester got a bit of barracking but that because he was going on a bit.
It should be noted that the main support for the 'wrecking' amendment came from those who asked for more time for reflection or consideration of the details. There was very little outright opposition to the principle of the regulations.
There were powerful speeches in favour of the regulations from Lord Smith and Lord Alli. The latter made the point that the demonstrations from the Religious Right outside Parliament appeared to have children as young as six holding placards of homophobic abuse - thus confirming the need for the regulations.
Perhaps the most persuasive speech came from Lady Howarth who, speaking as a Christian woman, said that she found nothing incompatible with her Christan faith in the regulations but rather that the regulations were entirely consistent with Christian principles.
The wrecking amendment was defeated by 168-122. And in that vote it must be remembered that most of those supporting the amendment were merely asking for more time for reflection.
The Regulations were then approved without a division.
The House of Commons had earlier approved the regulations by 310-100 - and again a lot of the anti votes were people merely unhappy with the procedure.
Parliament has spoken - and has spoken to accept gay people with respect compassion and sensitivity and to avoid every sign of unjust discrimination in their regard.
The debate was of a high standard and conducted generally very politely. Lord Lester got a bit of barracking but that because he was going on a bit.
It should be noted that the main support for the 'wrecking' amendment came from those who asked for more time for reflection or consideration of the details. There was very little outright opposition to the principle of the regulations.
There were powerful speeches in favour of the regulations from Lord Smith and Lord Alli. The latter made the point that the demonstrations from the Religious Right outside Parliament appeared to have children as young as six holding placards of homophobic abuse - thus confirming the need for the regulations.
Perhaps the most persuasive speech came from Lady Howarth who, speaking as a Christian woman, said that she found nothing incompatible with her Christan faith in the regulations but rather that the regulations were entirely consistent with Christian principles.
The wrecking amendment was defeated by 168-122. And in that vote it must be remembered that most of those supporting the amendment were merely asking for more time for reflection.
The Regulations were then approved without a division.
The House of Commons had earlier approved the regulations by 310-100 - and again a lot of the anti votes were people merely unhappy with the procedure.
Parliament has spoken - and has spoken to accept gay people with respect compassion and sensitivity and to avoid every sign of unjust discrimination in their regard.
Tuesday, March 13, 2007
Christianne Stotijn - a Name to Watch
The BBC Sunday Morning Concert at the Sage featured the young Dutch mezzo soprano Christianne Stotijn. She is a BBC Radio 3 New Generation Artist. She sang songs by Schubert, Brahms, Mahler and Pfitzner. The last seems to be something of a project of her and accompanist Joseph Breinl.
The voice is attractive rather than beautiful and without a particularly individual sound. The singing, however, was of high quality. There was evenness of tone, considerable power when needed, but also controlled and sustained soft singing. Stotijn's German diction was excellent and she revealed a wide range of tone colour to give life to the varying songs.
This was a hugely enjoyable short recital, warmly received by the audience. Stotijn makes her Covent Garden debut next season (in Janacek). I expect to hear much more of her.
The voice is attractive rather than beautiful and without a particularly individual sound. The singing, however, was of high quality. There was evenness of tone, considerable power when needed, but also controlled and sustained soft singing. Stotijn's German diction was excellent and she revealed a wide range of tone colour to give life to the varying songs.
This was a hugely enjoyable short recital, warmly received by the audience. Stotijn makes her Covent Garden debut next season (in Janacek). I expect to hear much more of her.
Saturday, March 10, 2007
Opera North's "Elixir of Love"
This was a delightful evening at Newcastle's Theatre Royal: Opera North really bringing Donizetti's charming masterpiece to life, albeit sung in English.
The production, by Daniel Slater, updates the story to about 1960, the time of "La Dolce Vita" in Italy. It is highly colourful, with particularly wonderful costumes for the women. Belcore makes his entry on a motor scooter and Dulcamara in a hot air balloon! Nemorino is a waiter at the local cappucino cafe. It all works wonderfully well with each chorus member creating a distinctive character from the local community in an Italian riviera town. A comic highlight was the drunken hen night chorus at the beginning of Act II - just the right side of slapstick.
A notable debutant with Opera North was Andrew Kennedy as Nemorino. This young tenor has been on the Royal Opera House's Young Artist's Programme, is a BBC Radio 3 New Generation Artist and won the lieder prize at the Cardiff "Singer of the World" competition in 2005. He sang extremely well with some lovely soft singing and noticeable coloratura skills. All that was lacking was a bit of Mediterranean warmth to the voice. More an Albert Herring than a Nemorino perhaps? He also had a tendency to over-act - particularly in the First Act.
The Adina was the Swedish soprano Anna Ryberg. A small voice, she had all the notes including some good high ones. She wore the Dolce Vita costumes with confidence and looked gorgeous.
Peter Savidge was not the most vocally splendid Dulcamara but he presented a wonderful stage character. As did Susanna Andersson, who also sang very well as Giannetta.
Not such a good night on the conducting front. Tecwyn Evans's accompaniment was often too loud and was generally heavy handed, revealing little understanding of bel canto style.
Saturday, March 03, 2007
Cavalli in Munich
The second opera in my recent visit to Munich was Cavalli’s “La Calisto”, again at the Staatsoper. I am not a great lover of early opera and find Cavalli’s musical style rather monotonous. There is no chorus, very few arias and most of the music consists of long passages of accompanied recitative. I managed to keep my interest alive for the first act but it sagged during the second half.
There was much to admire in the performance. The production, by David Alden, was light, colourful and witty. There were many ‘modern’ touches in it but they were there to clarify or amplify the story rather than to get in its way. Musical direction was in the experienced hands of Ivor Bolton with a small instrumental group on a specially raised platform in the middle of the orchestra pit.
The singing ranged from good to excellent. I expected memorable performances from Veronique Gens (as Giunone) and the noted character counter tenor Dominque Visse (as the satyr Satirino). The vocal discoveries for me were the counter tenor Lawrence Zazzo (as Endimione), revealing a beautiful soft-grained voice but which carried well into a large theatre and Sally Matthews, who sang the title role. She has a warm lyric soprano and I note that she is not only a former ROH Young Artist but also a former winner of the Kathleen Ferrier Prize.
Despite getting a bit bored in the second half, this was an enjoyable evening and it received a rapturous reception from a capacity audience.
In between the two operas I went to a concert of Schumann and Beethoven given in the Gasteig by the Munich Philharmonic under their Music Director Christian Thielemann. Schumann’s cello concerto was played by the young German cellist Johannes Moser, who gave us also a Bach sarabande as an encore. The Beethoven was his seventh symphony and what a thrill to hear it played with such verve by a full symphony orchestra: sixteen first violins and eight double basses!
Finally I am happy to report that the beer in Munich is as good as ever and the Ludwig Beck department store on Marienplatz still has its huge CD section on the fourth floor.
There was much to admire in the performance. The production, by David Alden, was light, colourful and witty. There were many ‘modern’ touches in it but they were there to clarify or amplify the story rather than to get in its way. Musical direction was in the experienced hands of Ivor Bolton with a small instrumental group on a specially raised platform in the middle of the orchestra pit.
The singing ranged from good to excellent. I expected memorable performances from Veronique Gens (as Giunone) and the noted character counter tenor Dominque Visse (as the satyr Satirino). The vocal discoveries for me were the counter tenor Lawrence Zazzo (as Endimione), revealing a beautiful soft-grained voice but which carried well into a large theatre and Sally Matthews, who sang the title role. She has a warm lyric soprano and I note that she is not only a former ROH Young Artist but also a former winner of the Kathleen Ferrier Prize.
Despite getting a bit bored in the second half, this was an enjoyable evening and it received a rapturous reception from a capacity audience.
In between the two operas I went to a concert of Schumann and Beethoven given in the Gasteig by the Munich Philharmonic under their Music Director Christian Thielemann. Schumann’s cello concerto was played by the young German cellist Johannes Moser, who gave us also a Bach sarabande as an encore. The Beethoven was his seventh symphony and what a thrill to hear it played with such verve by a full symphony orchestra: sixteen first violins and eight double basses!
Finally I am happy to report that the beer in Munich is as good as ever and the Ludwig Beck department store on Marienplatz still has its huge CD section on the fourth floor.
Tuesday, February 27, 2007
Billy Budd in Munich
Benjamin Britten’s “Billy Budd” is my favourite opera by that composer and one of the great operas of the twentieth century. I was therefore looking forward to a visit to Munich to see a performance at the Bayerische Staatsoper.
Things started badly with an announcement that both Christopher Maltman (Billy) and John Tomlinson (Claggart) were indisposed and would be replaced by Russell Braun and Peter Rose respectively.
Braun sang well enough as Billy, although he did occasionally shout, but he did not really have the looks or physique for the role or the stage charisma to overcome his lack in the looks department. Peter Rose, filling even larger shoes, did pretty well, presenting a character of considerable vocal and dramatic menace.
The part of Captain Vere was sung by John Daszak. Not the most elegant or sophisticated Vere, he also had trouble with the higher notes in the role. He was very warmly received by the audience. Vere is a particularly difficult part both dramatically and especially vocally. More than any other of Britten’s tenor roles it seems to have been tailored to Pears’s unusual vocal gifts.
The minor parts were all competently taken. There was excellent singing from the large chorus (very good English as well) and first rate playing from the orchestra under Kent Nagano. Nagano has been something of an advocate for the original four act version of “Billy Budd”, including recording it, and it was that version that was given here. I think Britten’s later thoughts were better but it is good to have a chance to see the original.
All the efforts of the musicians were severely hampered by Peter Mussbach’s awful production. Not clever or challenging, simply bad. The first mistake was to update the piece to the twentieth century: very difficult to do when the prologue ends telling us we are going to back to ‘the summer of seventeen hundred and ninety seven’. Even more difficult when the whole piece is full of references to war against the French, flogging and hanging from the yard arm - hardly the stuff of twentieth century British Naval life.
The opera opened with Vere, still a young man, still in his uniform, cradling the body of the dead Billy in his arms and this he continued to do for most of the first scene before eventually carrying the body off stage. All the cast were in dark blue great coats and caps so for long periods of time it was impossible to tell who was who or even who were officers and who crew.
But worse was to come. The below decks scene including ‘We’re off to Samoa..’ was brought up above decks and the song turned into a camp song and dance number, with the crew lined up across the stage chorus line fashion and with dancing boys stripped to the waist and wearing diamante high heels. I kid you not.
The other great ensemble moment, following the sighting of the French ship, was equally mishandled. The assembly of the entire crew for battle, so superbly matched in the music, just didn’t happen. Instead we had the crew (back in their great coats) reeling about the stage. No onstage drums or boys voices so even the musical effect was blunted.
One idea that almost worked was to have the scene between Billy and Vere after the trial played out on stage. By then Billy was already on his scaffold and Vere ended sitting before him so that Billy sang ‘Look! Through the port comes the moon-shine astray’ to Vere. This was an interesting and indeed moving moment. But it meant that Dansker had to become a fantasy and that there was no execution.
Despite good efforts from singers and orchestra, a disappointing evening.
Things started badly with an announcement that both Christopher Maltman (Billy) and John Tomlinson (Claggart) were indisposed and would be replaced by Russell Braun and Peter Rose respectively.
Braun sang well enough as Billy, although he did occasionally shout, but he did not really have the looks or physique for the role or the stage charisma to overcome his lack in the looks department. Peter Rose, filling even larger shoes, did pretty well, presenting a character of considerable vocal and dramatic menace.
The part of Captain Vere was sung by John Daszak. Not the most elegant or sophisticated Vere, he also had trouble with the higher notes in the role. He was very warmly received by the audience. Vere is a particularly difficult part both dramatically and especially vocally. More than any other of Britten’s tenor roles it seems to have been tailored to Pears’s unusual vocal gifts.
The minor parts were all competently taken. There was excellent singing from the large chorus (very good English as well) and first rate playing from the orchestra under Kent Nagano. Nagano has been something of an advocate for the original four act version of “Billy Budd”, including recording it, and it was that version that was given here. I think Britten’s later thoughts were better but it is good to have a chance to see the original.
All the efforts of the musicians were severely hampered by Peter Mussbach’s awful production. Not clever or challenging, simply bad. The first mistake was to update the piece to the twentieth century: very difficult to do when the prologue ends telling us we are going to back to ‘the summer of seventeen hundred and ninety seven’. Even more difficult when the whole piece is full of references to war against the French, flogging and hanging from the yard arm - hardly the stuff of twentieth century British Naval life.
The opera opened with Vere, still a young man, still in his uniform, cradling the body of the dead Billy in his arms and this he continued to do for most of the first scene before eventually carrying the body off stage. All the cast were in dark blue great coats and caps so for long periods of time it was impossible to tell who was who or even who were officers and who crew.
But worse was to come. The below decks scene including ‘We’re off to Samoa..’ was brought up above decks and the song turned into a camp song and dance number, with the crew lined up across the stage chorus line fashion and with dancing boys stripped to the waist and wearing diamante high heels. I kid you not.
The other great ensemble moment, following the sighting of the French ship, was equally mishandled. The assembly of the entire crew for battle, so superbly matched in the music, just didn’t happen. Instead we had the crew (back in their great coats) reeling about the stage. No onstage drums or boys voices so even the musical effect was blunted.
One idea that almost worked was to have the scene between Billy and Vere after the trial played out on stage. By then Billy was already on his scaffold and Vere ended sitting before him so that Billy sang ‘Look! Through the port comes the moon-shine astray’ to Vere. This was an interesting and indeed moving moment. But it meant that Dansker had to become a fantasy and that there was no execution.
Despite good efforts from singers and orchestra, a disappointing evening.
Saturday, February 10, 2007
The Original Ben Hur
I had a chance today to see the original, silent, film of "Ben Hur", shown at the Sage with live orchestral accompaniment from an augmented Northern Sinfonia.
The film, made in 1925, is one of the classics of the silent era and claims to be the first great epic of the cinema with huge crowd scenes, a naval battle and the famous chariot race.
These 'big' scenes all still look very impressive. The more intimate scenes less so with the acting looking very odd to modern eyes and laughable at times. The whole thing has rather a camp feel to it.
What brought the film to life was having the live accompaniment. Carl Davis composed a new score for the film a few years ago and that is what was used. It is written in a lush romantic style, with noticeable quotes from "Parsifal" and "Salome" and it fits the story and the action very well indeed. The chariot race, with the exciting action matched by mounting excitment in the orchestra, brought a burst of applause from the audience.
The Sinfonia played the score very well and there was a tour de force conducting job from Alan Fearon - never once losing synchronisation between film and music.
I don't think this will turn me into a silent film buff but a most interesting afternoon's entertainment.
The film, made in 1925, is one of the classics of the silent era and claims to be the first great epic of the cinema with huge crowd scenes, a naval battle and the famous chariot race.
These 'big' scenes all still look very impressive. The more intimate scenes less so with the acting looking very odd to modern eyes and laughable at times. The whole thing has rather a camp feel to it.
What brought the film to life was having the live accompaniment. Carl Davis composed a new score for the film a few years ago and that is what was used. It is written in a lush romantic style, with noticeable quotes from "Parsifal" and "Salome" and it fits the story and the action very well indeed. The chariot race, with the exciting action matched by mounting excitment in the orchestra, brought a burst of applause from the audience.
The Sinfonia played the score very well and there was a tour de force conducting job from Alan Fearon - never once losing synchronisation between film and music.
I don't think this will turn me into a silent film buff but a most interesting afternoon's entertainment.
Saturday, January 27, 2007
What a Start to the Year!
It is not often that opera really captures the attention of the British media but such has happened with the Royal Opera’s new production of Donizetti’s La Fille du Regiment. The Times, no great friend to the Royal Opera House, gave it a five star review as did The Independent, the Guardian and the Daily Telegraph. There were features and interviews in the press, an item on Channel 4 news and on BBC’s Sunday AM. Organs as disparate as The Daily Mail and The Tablet wrote about it. The result was that this became the hottest ticket in town with long queues at the ROH box office hoping for returns. One rumour had it that touts were selling standing places for £150 each.
So what occasioned all this fuss?
In his excellent book on bel canto operas Charles Osborne describes La Fille du Regiment as ‘a delightful example of French opera comique’. And it was for the Paris Opera-Comique that the piece was written in 1840. Despite some rather po-faced (envious?) criticism from Berlioz and others La Fille became a popular success and spread quickly across continental Europe, then reaching the United States in 1843 and London in 1847.
During the twentieth century the opera’s general popularity declined but it returned to the repertoire with a bang in 1966 when Joan Sutherland took on the title role at Covent Garden with Pavarotti as the hero Tonio. The part remained in Sutherland’s repertoire for twenty years and her Tonios included John Alexander, Enrico di Giuseppe, Alfredo Kraus and Rockwell Blake.
The recent revival of interest in the work again has centred around an operatic super-star: the remarkable Peruvian tenor Juan Diego Florez, one of the finest singers and certainly the best bel canto tenor I have ever heard.
And so we come to people almost literally fighting for tickets in the foyer of the Royal Opera House.
Let me start with Florez. This was as near to a perfect performance as I have ever seen. The famous top Cs shot into the theatre but still had words attached to them and were part of the musical line. Having had us on the edge of our seats (or out of them) with the excitement of Ah mes amis he then had us weeping with the beauty of his Pour me rapprocher, the second verse taken in a sublime mezza-voce.
So was this just a show piece for Florez? Far from it. In the title role we had Natalie Dessay, whose coloratura brilliance and tomboyish antics made for an equally star turn. There was a marvellous Marquise de Birkenfield from Felicity Palmer, including an extraordinary vocal range in the spoken dialogue. And then there was Dawn French in the non-singing part of the Duchesse de Crackentorp. All played for laughs of course, with her occasional lapses into English, but never too much so and I don’t think I have ever heard so much genuine laughter in the Royal Opera House.
The production by Laurent Pelly was a delight with much comic action that actually matched the music. At times it all made me think of Gilbert and Sullivan at its best. I was glad to see an article by Sarah Lenton in the programme explaining how well G&S (Gilbert particularly) knew this work and how much they learned from it.
From the first exposed horn notes to the final cadences the orchestra played brilliantly under Bruno Campanella. They and the chorus seemed to be enjoying themselves enormously.
This production, with the same two principals now goes on to Vienna and then to the Met. Be prepared to fight for a ticket!
So what occasioned all this fuss?
In his excellent book on bel canto operas Charles Osborne describes La Fille du Regiment as ‘a delightful example of French opera comique’. And it was for the Paris Opera-Comique that the piece was written in 1840. Despite some rather po-faced (envious?) criticism from Berlioz and others La Fille became a popular success and spread quickly across continental Europe, then reaching the United States in 1843 and London in 1847.
During the twentieth century the opera’s general popularity declined but it returned to the repertoire with a bang in 1966 when Joan Sutherland took on the title role at Covent Garden with Pavarotti as the hero Tonio. The part remained in Sutherland’s repertoire for twenty years and her Tonios included John Alexander, Enrico di Giuseppe, Alfredo Kraus and Rockwell Blake.
The recent revival of interest in the work again has centred around an operatic super-star: the remarkable Peruvian tenor Juan Diego Florez, one of the finest singers and certainly the best bel canto tenor I have ever heard.
And so we come to people almost literally fighting for tickets in the foyer of the Royal Opera House.
Let me start with Florez. This was as near to a perfect performance as I have ever seen. The famous top Cs shot into the theatre but still had words attached to them and were part of the musical line. Having had us on the edge of our seats (or out of them) with the excitement of Ah mes amis he then had us weeping with the beauty of his Pour me rapprocher, the second verse taken in a sublime mezza-voce.
So was this just a show piece for Florez? Far from it. In the title role we had Natalie Dessay, whose coloratura brilliance and tomboyish antics made for an equally star turn. There was a marvellous Marquise de Birkenfield from Felicity Palmer, including an extraordinary vocal range in the spoken dialogue. And then there was Dawn French in the non-singing part of the Duchesse de Crackentorp. All played for laughs of course, with her occasional lapses into English, but never too much so and I don’t think I have ever heard so much genuine laughter in the Royal Opera House.
The production by Laurent Pelly was a delight with much comic action that actually matched the music. At times it all made me think of Gilbert and Sullivan at its best. I was glad to see an article by Sarah Lenton in the programme explaining how well G&S (Gilbert particularly) knew this work and how much they learned from it.
From the first exposed horn notes to the final cadences the orchestra played brilliantly under Bruno Campanella. They and the chorus seemed to be enjoying themselves enormously.
This production, with the same two principals now goes on to Vienna and then to the Met. Be prepared to fight for a ticket!
Saturday, December 16, 2006
A Howler from the Vatican
The news organisation Zenit (http://www.zenit.org) reports that Father Raniero Cantalamessa, the Pontifical Household preacher no less, said the following in his commentary on the readings for the third Sunday of Advent:-
'This Sunday is traditionally called "Laetare" Sunday, that is, the Sunday of "rejoicing," from the words of St. Paul in the second reading: "Rejoice in the Lord always; I say again, rejoice." '
Oh dear oh dear.
Poor old Father C seems to have got his penitential seasons mixed up...
"Laetare Sunday" is the name given to the fourth Sunday in Lent. The third Sunday in Advent is commonly called "Gaudete Sunday", from the opening word of the Introit, which is indeed taken from the words of St Paul to the Philippians.
Something Old, Something New
These words are part of a good luck mantra for a wedding day but also sum up the opera CD releases for 2006. The old is the extraordinary recording of Wagner’s Ring cycle, recorded live at Bayreuth in 1955 and now being released opera by opera (I have the “Siegfried” only so far). Other live recordings from that period are usually in mono and often in very muddy sound. This is full clear 1950s stereo. The recordings were suppressed for many years by John Culshaw, chief producer at Decca, because he did not like live recordings and was bent on his studio recording conducted by Solti being the first complete Ring to be released. It has taken more than fifty years then for this first stereo Ring to reach the catalogue. The sound is excellent, the performances amazing (Windgassen, Hotter and Varnay, the greatest Wagner singers of their time, all at the height of their powers) and Josef Keilberth’s conducting is electric.
For the new I cannot do any better than Rossini’s “Matilde di Shabran”, recorded live at the Pesaro Festival in 2004. Loyal readers of this blog will recall my ecstatic review of the performance I attended at the time. This recording faithfully represents that performance with a lovely Matilde from Annick Massis and a spectacular tenor hero from Juan Diego Florez.
In recital CDs, it has been very much a year for the men. Bryn Terfel’s “Tutto Mozart” shows that his ventures into Wagner and Puccini have blunted none of his expertise in the more gentle if less exciting music of the eighteenth century. I have not heard the whole of Simon Keenlyside’s “Tales of Opera” but what I have heard has been impressive. It has had universally warm reviews and he was in top form when I heard him at the Edinburgh Festival.
Another of my “Edinburgh Men” was the enormously gifted Jonas Kaufmann. I heard him there as Walther in Wagner’s “Die Meistersinger” and this year he has produced an excellent recital disc of songs by Richard Strauss.
Finally the singer I heard just days ago at the Barbican in London and whom I rate as one of the most special singers I have ever heard. Juan Diego Florez’s “Sentimiento Latino” takes us away from opera to popular songs from his native South America. Some of the orchestral arrangements are in less than the best possible taste but the singing is gorgeous. The greatest singer in the world? I can think of none better.
Sunday, December 03, 2006
Opera North in Newcastle
Three operas at the Theatre Royal all showed Opera North at pretty close to its best.
The first I saw was "La Voix Humaine", Poulenc's extraordinary and harrowing one act opera for a solo singer. It portrays the last minutes of a woman intent on suicide after her lover has deserted her for another. There was an excellent vocal and dramatic performance from Joan Rodgers as The Woman, who had me hanging on her every word - assisted by her excellent diction. She was not assisted by the loud and intrusive orchestral playing under Paul Watkins. The production by Deborah Warner was generally very good, although I could not understand the significance of the large white screen over the stage. And why did it start to tilt in the opera's final moments?
The following night was "Peter Grimes", which had gathered florid critical praise, including being described as 'the operatic event of the year'. If not finding it quite that, this was an excellent production and performance. Jeffrey Lloyd Roberts was a shaven-headed brute of a Grimes complemented by a feminine and gentle Ellen from Giselle Allen. Christopher Purves was an excellent Balstrode and the show was almost stolen by a wonderfully sleazy wide-boy Ned Keene from Roderick Williams.
Phyllida Lloyd's production started before the music and continued after it finished. That rather set the tone, with constant activity on stage, characters often on stage who should not be and action bustling through all the interludes. As always with this producer there was much that was clever and full of insight (and even wit - the wonderful 'tango' moment between Balstrode and Auntie), I just wish that there could have been the occasional moment of calm. And why did we have an elaborate scene of the villagers building Grimes's hut during the Passacaglia and the apprentice falling to his death in full view of the village inspection party?
Opera North's music director, Richard Farnes, conducted and produced a generally fast and fiery account of the score. He also produced moments of calm and quietness and the singers could always be heard. Diction was generally of a very high standard.
My third night was another new production: "Rigoletto". Alan Opie was listed to sing the title role but was unwell and so Olafur Sigurdarson sang instead and did very well indeed. A good firm baritone voice (without the extra high notes, it must be said) and excellent projection of text and character. Another find was the Gilda, Henriette Bonde-Hansen. A fine lyric soprano, she looked good, acted well and even had a proper trill. The Duke was Rafael Rojas, a bit rough and ready but he had all the notes for this very difficult part.
The conductor was Martin Andre and, again, I am happy to report a good deal of sensitivity accompanying the singers while not being in the least afraid of letting the orchestra 'sing out' when appropriate. The orchestral playing in both this and in Grimes was excellent.
The production was by Charles Edwards, more noted as a designer. It was modern (set in a 1950s world of porn and organized crime). It provided no great new insights but nor did it do any damage to the story. Maybe I am a bit unshockable where Rigoletto is concerned: the last performance I saw was Doris Doerrie's absurd Munich production set on the Planet of the Apes...
One or two quibbles aside, three very satisfying nights from Opera North.
Monday, November 13, 2006
Pilgrimage to Andalucia (3)
Our first morning in Seville started with a visit to the Church of the Macarena. Here we saw the huge statue of Our Lady of Hope above the High Altar and the dramatic statue of Christ before Pilate at a side altar. The full significance of these vivid statues was only appreciated as we moved out of the church itself into the area where the floats on which these statues rest are housed. These are the floats that are carried through the streets, by 50 men at a time, during the night of Maundy Thursday, the procession lasting for twelve hours. We saw the huge and ornate vestments with which the statue of the Virgin Mary is draped and all the jewellery and other impedimenta (including six silver trumpets) that accompany these extraordinary processions. It all made me want to return to Seville for Semana Santa.
Then it was on to the Cathedral for Mass in the Capilla Real, which houses the tombs of Saint Ferdinand and Alfonso the Wise. The mortal remains of the wonderfully named Pedro the Cruel lie in the crypt beneath. This was another moving Mass in such a wonderful setting. It was lovely to see Fr Marty wearing a Spanish style chasuble (slightly different from the classic “Roman” vestment, being rather narrower over the shoulders): he claimed that it was the first time he had worn a fiddle-back in more than 30 years as a priest! I sang “Ecce sacerdos magnus” from the Mass for a Confessor Bishop, in honour of St Isidore, the patron of Seville.
After Mass we went into the cathedral itself. The guide books say that this is the third biggest cathedral in the world, after St Peter’s in Rome and St Paul’s in London. I am not sure this is quite accurate. I think that St Peter’s is not actually a cathedral: the pope’s cathedral is actually at St John Lateran. And St Paul’s in London is not and never was a Catholic cathedral. So, if I am right, then Seville is the largest true cathedral in the world. It is certainly very impressive, with another massive high Altar and Choir. Of particular interest to my American friends is that it is the home of the tomb of Christopher Columbus.
After the cathedral we were allowed a short break for lunch, which allowed me to find a glass of vino blanco and some garlic prawns. Then it was on to the Alcazar, the Moorish palace opposite the cathedral. This was very fine but, having just been through the Alhambra the day before, I found it difficult to get excited by it.
After dinner Elke had arranged a special treat: an evening of Flamenco! This was very much a ‘show’ but it was very professional, colourful and at times thrilling. When the singing started I wondered if I could cope with an hour and a half of this toneless, apparently tuneless noise but as my ear became attuned I found it easier to accept. Some of the dancing was spectacular; especially the solemn-faced lady who danced with a long train to her dress that she would periodically contrive to wrap itself around her.
Our final day started with Mass in a room in our hotel. This took me back to my Catholic liturgical roots, attending Latin Masses in a hotel room because the then Bishop of Hexham and Newcastle would not allow the traditional Mass to be celebrated in a church. Then the rest of the day was free.
I took the opportunity to just wander slowly through the narrow streets of old Seville. I found a wonderful covered market with stalls selling fish, meat and fruit and vegetables. I visited El Corte Ingles and restricted myself to buying one CD set of Victoria’s music. I walked down to the bull ring, and wished we had been there in the bull-fighting season. I stopped for lunch at a bar near the cathedral: squid and a glass of vino blanco. Then it was time for that most civilized of Spanish habits; the siesta…
And so we came to our final night. Another session of prayer and reflection followed by a highly amusing ‘awards’ ceremony.
This was a remarkable week, absorbing the history, culture and architecture of one of the most special places in Europe. It was also a time of prayer and pilgrimage and excellent fellowship. I will always remember it.
Then it was on to the Cathedral for Mass in the Capilla Real, which houses the tombs of Saint Ferdinand and Alfonso the Wise. The mortal remains of the wonderfully named Pedro the Cruel lie in the crypt beneath. This was another moving Mass in such a wonderful setting. It was lovely to see Fr Marty wearing a Spanish style chasuble (slightly different from the classic “Roman” vestment, being rather narrower over the shoulders): he claimed that it was the first time he had worn a fiddle-back in more than 30 years as a priest! I sang “Ecce sacerdos magnus” from the Mass for a Confessor Bishop, in honour of St Isidore, the patron of Seville.
After Mass we went into the cathedral itself. The guide books say that this is the third biggest cathedral in the world, after St Peter’s in Rome and St Paul’s in London. I am not sure this is quite accurate. I think that St Peter’s is not actually a cathedral: the pope’s cathedral is actually at St John Lateran. And St Paul’s in London is not and never was a Catholic cathedral. So, if I am right, then Seville is the largest true cathedral in the world. It is certainly very impressive, with another massive high Altar and Choir. Of particular interest to my American friends is that it is the home of the tomb of Christopher Columbus.
After the cathedral we were allowed a short break for lunch, which allowed me to find a glass of vino blanco and some garlic prawns. Then it was on to the Alcazar, the Moorish palace opposite the cathedral. This was very fine but, having just been through the Alhambra the day before, I found it difficult to get excited by it.
After dinner Elke had arranged a special treat: an evening of Flamenco! This was very much a ‘show’ but it was very professional, colourful and at times thrilling. When the singing started I wondered if I could cope with an hour and a half of this toneless, apparently tuneless noise but as my ear became attuned I found it easier to accept. Some of the dancing was spectacular; especially the solemn-faced lady who danced with a long train to her dress that she would periodically contrive to wrap itself around her.
Our final day started with Mass in a room in our hotel. This took me back to my Catholic liturgical roots, attending Latin Masses in a hotel room because the then Bishop of Hexham and Newcastle would not allow the traditional Mass to be celebrated in a church. Then the rest of the day was free.
I took the opportunity to just wander slowly through the narrow streets of old Seville. I found a wonderful covered market with stalls selling fish, meat and fruit and vegetables. I visited El Corte Ingles and restricted myself to buying one CD set of Victoria’s music. I walked down to the bull ring, and wished we had been there in the bull-fighting season. I stopped for lunch at a bar near the cathedral: squid and a glass of vino blanco. Then it was time for that most civilized of Spanish habits; the siesta…
And so we came to our final night. Another session of prayer and reflection followed by a highly amusing ‘awards’ ceremony.
This was a remarkable week, absorbing the history, culture and architecture of one of the most special places in Europe. It was also a time of prayer and pilgrimage and excellent fellowship. I will always remember it.
Sunday, November 12, 2006
Pilgrimage to Andalucia (2)
On Day 5 we set off from Granada on our way to Cordoba. We stopped off on the way at the town of Baena for a quick tour of an olive oil producer Nunez de Prado (http://www.nunezdeprado.com/). The same family have been producing olive oil at this site since 1795 and still use traditional methods of production and organic methods of growing the olives.
As we proceeded on to Cordoba I gave a short talk to the pilgrims about Spanish polyphony. As many of the great sites we had seen and the characters we had heard about dated from the 16th century, that was also a time of a great flowering of Spanish liturgical music. I spoke of Guerrero, Morales, and probably the greatest of all, Tomas Luis de Victoria. When in Seville I was very happy to discover a recording of Victoria’s music for Holy Week, made by the Monks of Silos, that included not only his well-known Responsories for Tenebrae but also his setting of the Passion and the “Popule Meus” for Good Friday and his setting of the “Miserere”.
We arrived in Cordoba late morning for a tour of the Cathedral. Buildings on this site may date back to a Christian Church in the 6th century but the main building that still exists started with the creation of a mosque in the 8th century. This mosque was one of the biggest and the most beautiful of its time. When Cordoba was taken back by the Christians in 1236 the building was preserved but consecrated as a Christian church dedicated to Our Lady.
Entry through a Moorish style orangery takes you into an area that has very much the atmosphere of a mosque. Marble columns are topped by double arches of alternating red and white brick or stone. The ceiling is low, the lighting subdued. As you move around the vast floor area you begin to pick out Christian images and chapels. Then in the centre of the building, you find the Renaissance High Altar and Choir, soaring above you into a great dome.
Of all the fantastic buildings that we visited, for me this was the most stunning. It showed the genius of the original Moorish builders but also the Christians who recovered the building and preserved rather than destroyed it. And I loved the High Altar and Choir. Some commentators describe them as incongruous and even inappropriate. For me they were not just striking and beautiful but a wonderful symbol of Renaissance civilization rising out of the dark ages. We had Mass in one of the chapels and it was an enormous privilege to sing the solemn “Salve Regina” in this unique building dedicated to the Mother of God.
After Mass I was able to find an excellent tapas bar (Pepes) for some battered aubergine with a dressing of honey and balsamic vinegar, washed down with a glass (alright two) of Fino, poured from a barrel behind the bar. Then it was back to our coach for the journey to our final city: Seville.
As we proceeded on to Cordoba I gave a short talk to the pilgrims about Spanish polyphony. As many of the great sites we had seen and the characters we had heard about dated from the 16th century, that was also a time of a great flowering of Spanish liturgical music. I spoke of Guerrero, Morales, and probably the greatest of all, Tomas Luis de Victoria. When in Seville I was very happy to discover a recording of Victoria’s music for Holy Week, made by the Monks of Silos, that included not only his well-known Responsories for Tenebrae but also his setting of the Passion and the “Popule Meus” for Good Friday and his setting of the “Miserere”.
We arrived in Cordoba late morning for a tour of the Cathedral. Buildings on this site may date back to a Christian Church in the 6th century but the main building that still exists started with the creation of a mosque in the 8th century. This mosque was one of the biggest and the most beautiful of its time. When Cordoba was taken back by the Christians in 1236 the building was preserved but consecrated as a Christian church dedicated to Our Lady.
Entry through a Moorish style orangery takes you into an area that has very much the atmosphere of a mosque. Marble columns are topped by double arches of alternating red and white brick or stone. The ceiling is low, the lighting subdued. As you move around the vast floor area you begin to pick out Christian images and chapels. Then in the centre of the building, you find the Renaissance High Altar and Choir, soaring above you into a great dome.
Of all the fantastic buildings that we visited, for me this was the most stunning. It showed the genius of the original Moorish builders but also the Christians who recovered the building and preserved rather than destroyed it. And I loved the High Altar and Choir. Some commentators describe them as incongruous and even inappropriate. For me they were not just striking and beautiful but a wonderful symbol of Renaissance civilization rising out of the dark ages. We had Mass in one of the chapels and it was an enormous privilege to sing the solemn “Salve Regina” in this unique building dedicated to the Mother of God.
After Mass I was able to find an excellent tapas bar (Pepes) for some battered aubergine with a dressing of honey and balsamic vinegar, washed down with a glass (alright two) of Fino, poured from a barrel behind the bar. Then it was back to our coach for the journey to our final city: Seville.
Saturday, November 11, 2006
Pilgrimage to Andalucia (1)
This was my second “Spiritual Sojourn” with Sr Jeannine Gramick SL. The first, nearly two years ago, had been to Austria and Bavaria, which I had very much enjoyed, but this pilgrimage to southern Spain was even more uplifting and enjoyable.
The group of 23 pilgrims was under the care and control of Elke Lehmann as tour guide, who did an exceptional job looking after us all, and under the spiritual leadership of Sr Jeannine herself and Fr Marty Demek of Baltimore. I was the only non-American on the trip.
We all met at Malaga airport and were taken straight away on a coach tour of Malaga and a visit to the Picasso Museum. The museum is beautifully laid out but I must admit I struggle with Picasso: a lot of his work just seems crude and slapdash to my eye.
We stayed our first two nights in a luxurious hotel just outside of Marbella. Our first proper expedition was to Gibraltar. We started our visit there with Mass in the Cathedral, a not very exciting building. It was nice that the Bishop of Gibraltar appeared at the end of Mass to give us words of welcome. I couldn’t help wondering if his welcome would have been quite so friendly if he had known who we were or if he had seen Sr Jeannine reading the Gospel and preaching during Mass.
I had very mixed feelings about Gibraltar. I loved St Michael’s Cave, with its spectacular stalactites. I would have liked to experience it when it is used as a concert hall. The Great Siege Tunnels were interesting and atmospheric. The town itself I found dreary. It reminded me of an undistinguished British provincial town of forty years ago. To try to enter into the sprit of things I ate fish and chips in the main square.
Day 3 was a Sunday and we made an early start for a walking tour of the old town of Marbella: charming and picturesque. Then it was into the coach for the drive to Granada, the first of the three great cities of Andalucia on our itinerary. We had an afternoon tour of the cathedral, with its wonderful gold and white interior and spectacular High Altar. We had hoped to have Mass in the cathedral but it is now used only for very large events. This seemed to b a theme of the larger churches we visited. I assume that, a bit like the Church of England, church attendance has fallen so much in Spain that the cathedrals are kept more as historical monuments (complete with admission charges) than as working churches. In Seville even an event presided over by the Cardinal Archbishop was taking place in a small chapel rather than the main Cathedral. Our Mass then was in the church attached to the cathedral, which was nonetheless very attractive. I sang for the first time at this Mass (“Adoro te devote”) and was very grateful for the warm appreciation of my fellow pilgrims.
In the afternoon of Day 3 we had been taken to the Albaicin, the old Moorish quarter of Granada and from there we had our first glimpse of the Alhambra, gleaming in the afternoon sunshine. Day 4 was our tour of the Alhambra. This was as remarkable as I had been led to expect: the exquisite Moorish rooms and courtyards, the beautiful gardens and the massive palace conceived, although never used, by Carlos V. Our guided tour ended up at lunchtime so I took the opportunity (with two of my fellow pilgrims) to have lunch in the Parador within the Alhambra. After a glass of fino I had Gazpacho (what else?), then fish, followed by small local cakes, the last washed down with a glass of “Malaga” wine, a sweet, strongly flavoured, almost sherry-like wine.
Our evening Mass in Granada was in a Church dedicated to Our Lady of Sorrows. This proved to be ornately decorated and to have the status of something of a shrine – it was visited by Pope John Paul II on his visit to Spain. A significant number of elderly Spanish ladies filled the back few rows of the Church during our Mass. Just before Mass started most of the lights in the Church were turned off and took some time to come back on. Then just as I started to sing during communion the light above me went off. This not only made it very difficult to see the music but was generally rather intimidating so I fear my ”Ave verum” was not a vocal highlight of the trip. At the end of Mass Sr Jeannine had the inspired idea that we should sing the “Salve Regina”, which had the elderly Spanish ladies singing along.
The group of 23 pilgrims was under the care and control of Elke Lehmann as tour guide, who did an exceptional job looking after us all, and under the spiritual leadership of Sr Jeannine herself and Fr Marty Demek of Baltimore. I was the only non-American on the trip.
We all met at Malaga airport and were taken straight away on a coach tour of Malaga and a visit to the Picasso Museum. The museum is beautifully laid out but I must admit I struggle with Picasso: a lot of his work just seems crude and slapdash to my eye.
We stayed our first two nights in a luxurious hotel just outside of Marbella. Our first proper expedition was to Gibraltar. We started our visit there with Mass in the Cathedral, a not very exciting building. It was nice that the Bishop of Gibraltar appeared at the end of Mass to give us words of welcome. I couldn’t help wondering if his welcome would have been quite so friendly if he had known who we were or if he had seen Sr Jeannine reading the Gospel and preaching during Mass.
I had very mixed feelings about Gibraltar. I loved St Michael’s Cave, with its spectacular stalactites. I would have liked to experience it when it is used as a concert hall. The Great Siege Tunnels were interesting and atmospheric. The town itself I found dreary. It reminded me of an undistinguished British provincial town of forty years ago. To try to enter into the sprit of things I ate fish and chips in the main square.
Day 3 was a Sunday and we made an early start for a walking tour of the old town of Marbella: charming and picturesque. Then it was into the coach for the drive to Granada, the first of the three great cities of Andalucia on our itinerary. We had an afternoon tour of the cathedral, with its wonderful gold and white interior and spectacular High Altar. We had hoped to have Mass in the cathedral but it is now used only for very large events. This seemed to b a theme of the larger churches we visited. I assume that, a bit like the Church of England, church attendance has fallen so much in Spain that the cathedrals are kept more as historical monuments (complete with admission charges) than as working churches. In Seville even an event presided over by the Cardinal Archbishop was taking place in a small chapel rather than the main Cathedral. Our Mass then was in the church attached to the cathedral, which was nonetheless very attractive. I sang for the first time at this Mass (“Adoro te devote”) and was very grateful for the warm appreciation of my fellow pilgrims.
In the afternoon of Day 3 we had been taken to the Albaicin, the old Moorish quarter of Granada and from there we had our first glimpse of the Alhambra, gleaming in the afternoon sunshine. Day 4 was our tour of the Alhambra. This was as remarkable as I had been led to expect: the exquisite Moorish rooms and courtyards, the beautiful gardens and the massive palace conceived, although never used, by Carlos V. Our guided tour ended up at lunchtime so I took the opportunity (with two of my fellow pilgrims) to have lunch in the Parador within the Alhambra. After a glass of fino I had Gazpacho (what else?), then fish, followed by small local cakes, the last washed down with a glass of “Malaga” wine, a sweet, strongly flavoured, almost sherry-like wine.
Our evening Mass in Granada was in a Church dedicated to Our Lady of Sorrows. This proved to be ornately decorated and to have the status of something of a shrine – it was visited by Pope John Paul II on his visit to Spain. A significant number of elderly Spanish ladies filled the back few rows of the Church during our Mass. Just before Mass started most of the lights in the Church were turned off and took some time to come back on. Then just as I started to sing during communion the light above me went off. This not only made it very difficult to see the music but was generally rather intimidating so I fear my ”Ave verum” was not a vocal highlight of the trip. At the end of Mass Sr Jeannine had the inspired idea that we should sing the “Salve Regina”, which had the elderly Spanish ladies singing along.
Saturday, October 21, 2006
Covent Garden Ring Cycles
Details of the Ring cycles at the Royal Opera House for autumn 2007 are now official.
There are to be three cycles, each spread over eight days: the first starts on Tuesday 2 October, the second on Wednesday 17 October and the third on Friday 26 October.
The casting is much the same as in the individual performances that have taken place so far. Lisa Gasteen sings Bruennhilde, John Treleaven Siegfried. Bryn Terfel sings Wotan in cycles 1 and 3 and John Tomlinson sings the part in cycle 2. Domingo sings Siegmund in cycles 2 and 3 and Simon O'Neill in cycle 1. Some other notable casting is Philip Langridge as Loge, Mihoko Fujimura as Waltraute and Eva-Maria Westbroek (who has just triumphed as Katerina in "Lady Macbeth of Mtsensk") as Sieglinde.
Antonio Pappano will conduct all three cycles.
Public booking opens on 14 November. Ticket prices for a complete cycle range from £32 (standing in the Lower Slips) to £850 (sitting in the stalls).
I have seen each of the four operas as this Ring has been assembled. The musical standards have been extremely high, with outstanding playing from the orchestra and a notable contribution from Terfel, singing his first Wotans. The production (Keith Warner) has been less universally praised but I found that the good very much outweighed the bad.
It is thirty years since I last saw a Ring Cycle in one week, so I think I will treat myself next autumn...
There are to be three cycles, each spread over eight days: the first starts on Tuesday 2 October, the second on Wednesday 17 October and the third on Friday 26 October.
The casting is much the same as in the individual performances that have taken place so far. Lisa Gasteen sings Bruennhilde, John Treleaven Siegfried. Bryn Terfel sings Wotan in cycles 1 and 3 and John Tomlinson sings the part in cycle 2. Domingo sings Siegmund in cycles 2 and 3 and Simon O'Neill in cycle 1. Some other notable casting is Philip Langridge as Loge, Mihoko Fujimura as Waltraute and Eva-Maria Westbroek (who has just triumphed as Katerina in "Lady Macbeth of Mtsensk") as Sieglinde.
Antonio Pappano will conduct all three cycles.
Public booking opens on 14 November. Ticket prices for a complete cycle range from £32 (standing in the Lower Slips) to £850 (sitting in the stalls).
I have seen each of the four operas as this Ring has been assembled. The musical standards have been extremely high, with outstanding playing from the orchestra and a notable contribution from Terfel, singing his first Wotans. The production (Keith Warner) has been less universally praised but I found that the good very much outweighed the bad.
It is thirty years since I last saw a Ring Cycle in one week, so I think I will treat myself next autumn...
Friday, October 20, 2006
Lady Macbeth of Mtsensk at the ROH
I saw this production when it was new two years ago and thought it one of the most extraordinary things I have seen at the Royal Opera House. I returned to it again last week and found it, if anything, even more brilliant on a second encounter.
The opera was written by Shostakovich when still in his twenties. After early popular success it was suppressed after attracting Stalin's disapproval. The experience drove Shostakovich away from opera and thus it remains his only full-scale 'serious' opera.
The story centres around Katerina (the Lady M of the title), who is a bored housewife. To spice up her life she has a fling with a bit of rough. Her father-in-law discovers this so she murders him. Her husband returns from business and finds her and bit-of-rough on the job so they murder him. Katerina and bit-of-rough marry. On their wedding day her husband's body is discovered. They are arrested and sent to Siberia. In the prison camp bit-of-rough has a fling with another woman. Katerina murders her and kills herself.
The operatic setting of this up-lifting tale ranges from broad ribaldry (including on-stage sexual intercourse with explicit accompanying music) through black humour to utmost despair. And then there is the poisoning, the attempted rape, the strangling and beheading, the double drowning and the whipping: all carried out onstage to appropriate musical accompaniment!
Katarina Dalayman sang the role of Katerina when the production was new. In this revival the part was taken by Eva-Marie Westbroeck. Without erasing completely memories of Dalayman, this was another virtuoso performance. Westbroeck revealed a fine dramatic soprano voice: an Isolde in the making perhaps?
Returning to his role was John Tomlinson as Boris, Katerina's father-in-law. This part could almost have been made for this great artist at this stage of his career. The slightly frayed quality of the voice matched the character perfectly and, again, his acting was totally convincing. The way he sang and acted as he demolished the poisoned mushrooms that were to kill him was both blackly comic and horribly vivid.
All these horrid goings-on are matched by an orchestral score of eclectic virtuosity. Pappano and his orchestra revelled in every detail of Shostakovich's extraordinary range of tone colour and dynamics.
The production was by Richard Jones. He has been somewhat controversial in the past and his "Ring" at Covent Garden was less than wonderful. Lady M, however seemed to suit his unusual theatrical talent totally.
This was a thrilling evening greeted sometimes with laughter, sometimes with stunned silence and, at the end, with uninhibited shouts of approval from a capacity audience.
The opera was written by Shostakovich when still in his twenties. After early popular success it was suppressed after attracting Stalin's disapproval. The experience drove Shostakovich away from opera and thus it remains his only full-scale 'serious' opera.
The story centres around Katerina (the Lady M of the title), who is a bored housewife. To spice up her life she has a fling with a bit of rough. Her father-in-law discovers this so she murders him. Her husband returns from business and finds her and bit-of-rough on the job so they murder him. Katerina and bit-of-rough marry. On their wedding day her husband's body is discovered. They are arrested and sent to Siberia. In the prison camp bit-of-rough has a fling with another woman. Katerina murders her and kills herself.
The operatic setting of this up-lifting tale ranges from broad ribaldry (including on-stage sexual intercourse with explicit accompanying music) through black humour to utmost despair. And then there is the poisoning, the attempted rape, the strangling and beheading, the double drowning and the whipping: all carried out onstage to appropriate musical accompaniment!
Katarina Dalayman sang the role of Katerina when the production was new. In this revival the part was taken by Eva-Marie Westbroeck. Without erasing completely memories of Dalayman, this was another virtuoso performance. Westbroeck revealed a fine dramatic soprano voice: an Isolde in the making perhaps?
Returning to his role was John Tomlinson as Boris, Katerina's father-in-law. This part could almost have been made for this great artist at this stage of his career. The slightly frayed quality of the voice matched the character perfectly and, again, his acting was totally convincing. The way he sang and acted as he demolished the poisoned mushrooms that were to kill him was both blackly comic and horribly vivid.
All these horrid goings-on are matched by an orchestral score of eclectic virtuosity. Pappano and his orchestra revelled in every detail of Shostakovich's extraordinary range of tone colour and dynamics.
The production was by Richard Jones. He has been somewhat controversial in the past and his "Ring" at Covent Garden was less than wonderful. Lady M, however seemed to suit his unusual theatrical talent totally.
This was a thrilling evening greeted sometimes with laughter, sometimes with stunned silence and, at the end, with uninhibited shouts of approval from a capacity audience.
Tuesday, September 05, 2006
Die Meistersinger in Edinburgh
A concert performance of Wagner’s “Die Meistersinger von Nuernberg” at the Usher Hall marked the end of this year’s Edinburgh Festival and the end of Brian McMaster’s tenure as Festival Director. A brief but effective tribute from his deputy brought prolonged and warm applause, which could easily have turned into an ovation had not McMaster stayed modestly in his seat.
Let’s get the bad stuff out of the way first. The performance was conducted by David Robertson and a very poor job he made of it. Yes, the climaxes were loud and thrilling (as they should be) but the orchestra throughout the opera was loud and raucous (as it should not be). Robertson's few rather limp attempts to quell the noise (even putting his finger to his lips like a school ma'am) were completely ignored as the BBC Scottish Symphony Orchestra roared its way through the score.
This meant that a lot of the magic and delicacy in this wonderful score was lost; it meant that the singers were constantly fighting to be heard; and it meant that the conversational passages (of which there are many) were more like shouting matches.
Why was Robertson engaged for this rather special event? He does not seem to have any special link with the Edinburgh Festival, his operatic pedigree is weak and his Wagner credentials even weaker.
Having got all that off my chest, the singers did an excellent job. I loved Toby Spence's excellent David, beautifully sung and characterised, and Andrew Shore's Beckmesser, sung rather than whined, and correctly avoiding the risk of caricature. Robert Holl was a bluff and avuncular Hans Sachs: I felt that even if Walther had not come along nothing would ever really have happened between this Sachs and Eva.
Jonas Kaufmann's debut in the role of Walther was everything I had hoped it would be, although his attempts at subtlety were lost in the torrent of noise from the orchestra. He sang beautifully and lyrically and looked every inch the romantic hero. I really enjoy the quality of his voice: the slightly husky, baritonal middle but also the clear ringing top notes. This is a role I hope he will return to.
It was good to see Matthew Rose taking a significant step forward in his career with his sonorous Pogner. A special mention for the nightwatchman of Paul Whelan. The two ladies (Hillevi Martinpelto and Wendy Dawn Thompson) were good without being memorable.
Finally, what a brilliant idea to line up all those marvellous old master singers as the Mastersingers: William Kendall, John Shirley-Quirk, Jeffrey Lawton, John Mitchinson, John Robertson, Philip Joll, Glenville Hargreaves, Richard van Allan. Most of them now in their seventies, at least two (if not more) of them sang Wagner with Goodall. I wonder what they thought of the conducting...
Let’s get the bad stuff out of the way first. The performance was conducted by David Robertson and a very poor job he made of it. Yes, the climaxes were loud and thrilling (as they should be) but the orchestra throughout the opera was loud and raucous (as it should not be). Robertson's few rather limp attempts to quell the noise (even putting his finger to his lips like a school ma'am) were completely ignored as the BBC Scottish Symphony Orchestra roared its way through the score.
This meant that a lot of the magic and delicacy in this wonderful score was lost; it meant that the singers were constantly fighting to be heard; and it meant that the conversational passages (of which there are many) were more like shouting matches.
Why was Robertson engaged for this rather special event? He does not seem to have any special link with the Edinburgh Festival, his operatic pedigree is weak and his Wagner credentials even weaker.
Having got all that off my chest, the singers did an excellent job. I loved Toby Spence's excellent David, beautifully sung and characterised, and Andrew Shore's Beckmesser, sung rather than whined, and correctly avoiding the risk of caricature. Robert Holl was a bluff and avuncular Hans Sachs: I felt that even if Walther had not come along nothing would ever really have happened between this Sachs and Eva.
Jonas Kaufmann's debut in the role of Walther was everything I had hoped it would be, although his attempts at subtlety were lost in the torrent of noise from the orchestra. He sang beautifully and lyrically and looked every inch the romantic hero. I really enjoy the quality of his voice: the slightly husky, baritonal middle but also the clear ringing top notes. This is a role I hope he will return to.
It was good to see Matthew Rose taking a significant step forward in his career with his sonorous Pogner. A special mention for the nightwatchman of Paul Whelan. The two ladies (Hillevi Martinpelto and Wendy Dawn Thompson) were good without being memorable.
Finally, what a brilliant idea to line up all those marvellous old master singers as the Mastersingers: William Kendall, John Shirley-Quirk, Jeffrey Lawton, John Mitchinson, John Robertson, Philip Joll, Glenville Hargreaves, Richard van Allan. Most of them now in their seventies, at least two (if not more) of them sang Wagner with Goodall. I wonder what they thought of the conducting...
Saturday, August 05, 2006
Elisabeth Schwarzkopf RIP
I am too young to have heard Elisabeth Schwarzkopf in opera but I did hear her twice in recital. The first occasion was at the Theatre Royal in Newcastle in the early 1970s. I was completely taken with the beauty of her voice, her aristocratic stage manner, her detailed interpretations and her wonderful ability to communicate to an audience. A few years later I heard her in what I think was her farewell recital at Covent Garden.
Her operatic repertoire was surprisingly wide during her career (74 roles I read in one obituary), but once she could she settled on a few roles which she sang supremely, as her recordings bear witness. From Mozart there was the Countess in “Figaro”, Fiordiligi in “Cosi” (her come scoglio once heard, never forgotten) and incomparably great, her Donna Elvira in “Don Giovanni”. From Verdi there was a delightful Alice Ford in “Falstaff” and finally there was her Strauss. Her recording of the Marschallin is one of the greatest displays of the vocal art: the moment in the first act when she sings of creeping in the middle of the night to stop the clocks always finds me holding my breath and (literally) sitting on the edge of my seat.
Away from opera, she enjoyed a formidable reputation in Viennese operetta as well as making memorable recordings of Handel’s Messiah (with Klemperer) and Verdi’s Requiem (with Giulini). There is also a beautiful and tasteful Christmas album.
One of the more controversial turns in her career was a series of televised master classes that she did for the BBC. She was criticised for being cruel and rude to the young singers. I took a completely opposite view. I thought she paid the singers the respect of expecting from them the standards that she set for herself. So master classes, which can so often be bland or slightly patronising, became real crucibles of musical exploration. Nothing slip-shod was allowed to pass and she would quite happily have a singer repeat a passage again and again until a fault was eradicated or a new insight gained. I thought these classes were a revelation and count them an enormous influence in my own understanding and appreciation of the singer’s art.
I leave to last what I consider to be her greatest contribution to music and that is her performance and recording of German lieder. Her performances were based on her naturally beautiful voice and impeccable technique. To that she added her interpretative skills: every note, every word, every syllable was examined to establish its place in the whole. As long as vocal art is valued these are recordings that will be treasured and wondered at.
She was yet another of that remarkable generation of singers born in the two decades from 1910-1930. I pay tribute to her and salute her as one of the greatest.
Her operatic repertoire was surprisingly wide during her career (74 roles I read in one obituary), but once she could she settled on a few roles which she sang supremely, as her recordings bear witness. From Mozart there was the Countess in “Figaro”, Fiordiligi in “Cosi” (her come scoglio once heard, never forgotten) and incomparably great, her Donna Elvira in “Don Giovanni”. From Verdi there was a delightful Alice Ford in “Falstaff” and finally there was her Strauss. Her recording of the Marschallin is one of the greatest displays of the vocal art: the moment in the first act when she sings of creeping in the middle of the night to stop the clocks always finds me holding my breath and (literally) sitting on the edge of my seat.
Away from opera, she enjoyed a formidable reputation in Viennese operetta as well as making memorable recordings of Handel’s Messiah (with Klemperer) and Verdi’s Requiem (with Giulini). There is also a beautiful and tasteful Christmas album.
One of the more controversial turns in her career was a series of televised master classes that she did for the BBC. She was criticised for being cruel and rude to the young singers. I took a completely opposite view. I thought she paid the singers the respect of expecting from them the standards that she set for herself. So master classes, which can so often be bland or slightly patronising, became real crucibles of musical exploration. Nothing slip-shod was allowed to pass and she would quite happily have a singer repeat a passage again and again until a fault was eradicated or a new insight gained. I thought these classes were a revelation and count them an enormous influence in my own understanding and appreciation of the singer’s art.
I leave to last what I consider to be her greatest contribution to music and that is her performance and recording of German lieder. Her performances were based on her naturally beautiful voice and impeccable technique. To that she added her interpretative skills: every note, every word, every syllable was examined to establish its place in the whole. As long as vocal art is valued these are recordings that will be treasured and wondered at.
She was yet another of that remarkable generation of singers born in the two decades from 1910-1930. I pay tribute to her and salute her as one of the greatest.
Thursday, July 27, 2006
JDF at the Proms
It is many years (at least 15) since I have actually attended a Proms concert but they were hugely influential in my musical education and I still follow them on the radio and television.
The extraordinary venue is the Royal Albert Hall. And ‘extraordinary’ is indeed the word to describe this gigantic eccentric piece of Victoriana. The auditorium is vast (accommodating I believe some 6,000 people – 1,400 of them standing as ‘prommers’). The acoustics are weird, rather more like a cathedral than a concert hall and the facilities almost non-existent. There is no sign of air-conditioning.
So it was that I chose one of the hottest nights of the year to take one of the hottest tickets of the season: the Proms debut of Juan Diego Florez, whom I am not ashamed to nominate as the Greatest Singer in the World.
The first half of the concert consisted of JDF singing three bel canto blockbusters; in the second he sang four Latin-American songs. These were interleaved with orchestral pieces on a Spanish theme.
Apart from one awful bum note in “Una Furtiva Lagrima”, the Great Man was on fine form and seemed to be thoroughly enjoying himself. He resisted the temptation to force his voice in this giant arena and even displayed some beautiful soft singing. The tempi of some items had been slowed considerably to cope with the acoustic, and he seemed to relish the reverberations of that acoustic, pausing at times like some Grand Gregorian Chant Divo until the echoes had subsided so he could launch off again, singing into silence.
Of course the voice does not have the impact that it does in an opera house seating a third of this audience. And the Proms are a curious phenomenon: they are so geared to those who are truly ‘promming’ that even sitting in the stalls I felt something of a spectator at someone else’s event.
The Latin-American Songs were performed in very elaborate and sentimental arrangements that reminded me of some of the work that Douglas Gamley did for Dame Joan. So elaborate were they that JDF had some electronic assistance for this part of the concert.
That, combined, with the venue and the heat, made this less than a five star event. Am I being mean in this? Those nine top Cs from “Fille du Regiment” still rang out to make the hairs on the back of my neck (soaked in perspiration as they were) stand on end.
A recording of the concert will be on the BBC Proms website for the next week or so. Follow the link for ‘listen again’ and then ‘Prom 15’ at http://www.bbc.co.uk/proms
The extraordinary venue is the Royal Albert Hall. And ‘extraordinary’ is indeed the word to describe this gigantic eccentric piece of Victoriana. The auditorium is vast (accommodating I believe some 6,000 people – 1,400 of them standing as ‘prommers’). The acoustics are weird, rather more like a cathedral than a concert hall and the facilities almost non-existent. There is no sign of air-conditioning.
So it was that I chose one of the hottest nights of the year to take one of the hottest tickets of the season: the Proms debut of Juan Diego Florez, whom I am not ashamed to nominate as the Greatest Singer in the World.
The first half of the concert consisted of JDF singing three bel canto blockbusters; in the second he sang four Latin-American songs. These were interleaved with orchestral pieces on a Spanish theme.
Apart from one awful bum note in “Una Furtiva Lagrima”, the Great Man was on fine form and seemed to be thoroughly enjoying himself. He resisted the temptation to force his voice in this giant arena and even displayed some beautiful soft singing. The tempi of some items had been slowed considerably to cope with the acoustic, and he seemed to relish the reverberations of that acoustic, pausing at times like some Grand Gregorian Chant Divo until the echoes had subsided so he could launch off again, singing into silence.
Of course the voice does not have the impact that it does in an opera house seating a third of this audience. And the Proms are a curious phenomenon: they are so geared to those who are truly ‘promming’ that even sitting in the stalls I felt something of a spectator at someone else’s event.
The Latin-American Songs were performed in very elaborate and sentimental arrangements that reminded me of some of the work that Douglas Gamley did for Dame Joan. So elaborate were they that JDF had some electronic assistance for this part of the concert.
That, combined, with the venue and the heat, made this less than a five star event. Am I being mean in this? Those nine top Cs from “Fille du Regiment” still rang out to make the hairs on the back of my neck (soaked in perspiration as they were) stand on end.
A recording of the concert will be on the BBC Proms website for the next week or so. Follow the link for ‘listen again’ and then ‘Prom 15’ at http://www.bbc.co.uk/proms
Tuesday, June 27, 2006
Aldeburgh Festival 2006
The small town of Aldeburgh on the Suffolk Coast would be nothing more than a small seaside resort with a pebbly beach were it not for one fact: it was the place that Benjamin Britten and Peter Pears chose for their home. More than that, in 1948 they created the first Aldeburgh Festival. Pears’s original idea was ‘just a few concerts with a few friends’ but it is still going after 58 years and is now one of the most notable British festivals, particularly for those with an interest in 20th century music.
An inspired suggestion from a friend led me to my first visit to the Festival. The Suffolk countryside is rather flat but still attractive, there are numerous lovely houses and excellent country churches.
The Festival now lasts for just over two weeks with an intensive programme of concerts, lectures and opera, along with exhibitions and even slightly eccentric ‘beach events’, where you are invited to join forces with “Bladder-wrack” to ‘echo our relationship with the sea’ through the ‘use of live words’.
My programme started with a production of Stravinsky’s opera “The Rake’s Progress” at the Snape Maltings. The setting is sensational, set amongst reed beds and with exposed brick walls. It is the Festival’s largest venue, but still seating only just over 800. The performance was well sung by singers from the Britten-Pears Young Artist Programme with the Philharmonia Orchestra conducted by Martyn Brabbins. The effective and witty production was by the hugely talented Neil Bartlett.
Saturday was a big day, starting with an 11am concert in Aldeburgh Parish Church. This was preceded by a visit to the graves of Britten and Pears, side-by-side in the churchyard. There was then a special frisson to listening to one of Britten’s earliest works (the Phantasy quartet) and recalling that his mortal remains were laid to rest less than 100 yards away.
Time then for a quick beer and a sandwich before driving on to the village of Orford for the next event: a concert entitled “Brian Ferneyhough Portrait.”. This included some Gregorian Chant and two motets from the fifteenth century all expertly sung by the young choir Exaudi (although the ladies were somewhat harsh of tone). But then we moved on to the music by the eponymous Brian Ferneyhough. Two violin pieces had me completely baffled and his Missa Brevis had me in helpless giggles, not least as I imagined staid liturgical events into which it could be inserted. The choir sometimes sang but also moaned, screamed and shouted the words of the Latin Mass.
Saturday evening brought another big event at the Snape Maltings: a concert by the Halle Orchestra conducted by Mark Elder. The centre piece of this was Britten’s Serenade for tenor horn and strings. For me this was the musical highlight of my visit: brilliant music with immaculate performances from tenor Timothy Robinson and Richard Watkins on horn.
The Sunday schedule was a little less hectic, which allowed time for a visit to the “Red House” and the Britten-Pears library there. This was another extraordinary and atmospheric experience of stepping in the footsteps of greatness. I was particularly pleased to note that the Britten-Pears library is sufficiently broad-minded to include Joan Sutherland ‘s autobiography on its shelves: she could not stand BB’s music and he cruelly lampooned her in his opera “Midsummer Night’s Dream”!
The afternoon concert was a piano recital in Blythburgh Church: Mozart, Schumann, Messiaen and Bartok played in the ‘sea of light’ that flows through that church’s windows on a sunny afternoon.
Back to Aldeburgh for the evening event: a challenging concert of string quartet music by Schoenberg, Berg and the man of the moment: Brian Ferneyhough. The rigours of all that atonal music were modified by some excellent lobster at a local restaurant and a sight of the famous “Aldeburgh Moon” as the late night moonlight crosses the sea and rises up the beach: magical.
Monday morning was Auden morning in Aldeburgh. First of all a lecture by the academic, novelist and poet John Fuller on “Auden the Poet”, then a recital of songs setting texts by Auden and sung by the promising young tenor Robert Murray. These took place in Aldeburgh’s Jubilee Hall, where the Festival first started 58 years ago.
Time for lunch at another excellent Aldeburgh restaurant before setting off home, with memories some of which will never leave me and an urgent desire to return to this brilliant festival.
An inspired suggestion from a friend led me to my first visit to the Festival. The Suffolk countryside is rather flat but still attractive, there are numerous lovely houses and excellent country churches.
The Festival now lasts for just over two weeks with an intensive programme of concerts, lectures and opera, along with exhibitions and even slightly eccentric ‘beach events’, where you are invited to join forces with “Bladder-wrack” to ‘echo our relationship with the sea’ through the ‘use of live words’.
My programme started with a production of Stravinsky’s opera “The Rake’s Progress” at the Snape Maltings. The setting is sensational, set amongst reed beds and with exposed brick walls. It is the Festival’s largest venue, but still seating only just over 800. The performance was well sung by singers from the Britten-Pears Young Artist Programme with the Philharmonia Orchestra conducted by Martyn Brabbins. The effective and witty production was by the hugely talented Neil Bartlett.
Saturday was a big day, starting with an 11am concert in Aldeburgh Parish Church. This was preceded by a visit to the graves of Britten and Pears, side-by-side in the churchyard. There was then a special frisson to listening to one of Britten’s earliest works (the Phantasy quartet) and recalling that his mortal remains were laid to rest less than 100 yards away.
Time then for a quick beer and a sandwich before driving on to the village of Orford for the next event: a concert entitled “Brian Ferneyhough Portrait.”. This included some Gregorian Chant and two motets from the fifteenth century all expertly sung by the young choir Exaudi (although the ladies were somewhat harsh of tone). But then we moved on to the music by the eponymous Brian Ferneyhough. Two violin pieces had me completely baffled and his Missa Brevis had me in helpless giggles, not least as I imagined staid liturgical events into which it could be inserted. The choir sometimes sang but also moaned, screamed and shouted the words of the Latin Mass.
Saturday evening brought another big event at the Snape Maltings: a concert by the Halle Orchestra conducted by Mark Elder. The centre piece of this was Britten’s Serenade for tenor horn and strings. For me this was the musical highlight of my visit: brilliant music with immaculate performances from tenor Timothy Robinson and Richard Watkins on horn.
The Sunday schedule was a little less hectic, which allowed time for a visit to the “Red House” and the Britten-Pears library there. This was another extraordinary and atmospheric experience of stepping in the footsteps of greatness. I was particularly pleased to note that the Britten-Pears library is sufficiently broad-minded to include Joan Sutherland ‘s autobiography on its shelves: she could not stand BB’s music and he cruelly lampooned her in his opera “Midsummer Night’s Dream”!
The afternoon concert was a piano recital in Blythburgh Church: Mozart, Schumann, Messiaen and Bartok played in the ‘sea of light’ that flows through that church’s windows on a sunny afternoon.
Back to Aldeburgh for the evening event: a challenging concert of string quartet music by Schoenberg, Berg and the man of the moment: Brian Ferneyhough. The rigours of all that atonal music were modified by some excellent lobster at a local restaurant and a sight of the famous “Aldeburgh Moon” as the late night moonlight crosses the sea and rises up the beach: magical.
Monday morning was Auden morning in Aldeburgh. First of all a lecture by the academic, novelist and poet John Fuller on “Auden the Poet”, then a recital of songs setting texts by Auden and sung by the promising young tenor Robert Murray. These took place in Aldeburgh’s Jubilee Hall, where the Festival first started 58 years ago.
Time for lunch at another excellent Aldeburgh restaurant before setting off home, with memories some of which will never leave me and an urgent desire to return to this brilliant festival.
Friday, June 09, 2006
Pentecost
The feast of Pentecost commemorates the descent of the Holy Spirit upon the Apostles. This is recorded in the Acts of the Apostles Chapter 2 as having occurred fifty days after the Resurrection of Christ, on the ancient Jewish festival called the "feast of weeks" (which marked the first phase of the harvest). The name Whitsunday came to be used for this day because of the white garments worn by those who were baptized during the vigil which took place on the Saturday preceding Pentecost. The word Pentecost is Greek for "the fiftieth" (day after Easter).
The celebration of Pentecost or Whitsunday, as a Christian feast, dates back to the first century and there is a reference to Pentecost as early as St Paul's first letter to the Corinthians (16:8).
The Mass for Pentecost has the lovely Sequence, "Veni Sancte Spiritus", which contains such wonderful lines as 'Bend the stubborn heart and will; Melt the frozen, warm the chill. Heal our wounds, our strength renew; On our dryness pour thy dew. Wash the stains of guilt away; Guide the steps that go astray.'
At Vespers is sung the great hymn "Veni Creator Spiritus". This dates back to a 10th century manuscript, but has been variously attributed to Emperor Charles the Fat, grandson of Charlemagne, Gregory the Great, St Ambrose, and Rhabanus Maurus, Archbishop of Mainz (c.776 - c.856). From the 11th century it was used in ordinations, and from 1307 (the date of the coronation of Edward II) at coronations in England. Rather remarkably, it is the only hymn specifically prescribed by the Anglican1662 Book of Common Prayer. Much later, the words of the hymn were used by Mahler for the majestic opening of his eighth symphony.
The colour of the vestments for Pentecost is red, a colour symbolic of the Holy Spirit or of the tongues of fire, which are said to have appeared on the heads of the apostles on the original Pentecost.
An ancient rule was that law courts did not sit during the entire week following Pentecost. Within my professional lifetime this remained the norm on England's North Eastern Circuit.
In Italy it was customary to scatter rose leaves from the ceiling of the churches to recall the miracle of the fiery tongues; hence in Sicily and elsewhere in Italy Whitsunday is called Pascha rosatum. The Italian name Pascha rossa comes from the red colour of the vestments used onWhitsunday. In France it was customary to blow trumpets during divine service, to recall the sound of the mighty wind which accompanied the descent of the Holy Spirit.
In England horse racing was the traditional Whitsun amusement for the gentry. For more ordinary folk the Whitsun Ales were the thing. These were, despite the name, not a type of beer but rather country fairs, with sports and competitions, morris dancing displays, music, plays and of course socialising, eating and drinking, in fact a major event on the social calendar.
This Pentecost Sunday I was in London so was able to attend the principal Mass at the Brompton Oratory. The vestments were sumptuous: beautiful rich red, woven through with golden thread, and with tasselled dalmatic and tunicle for the deacon and subdeacon.
The music was even better. A Buxtehude organ prelude before Mass;Victoria's Missa Dum complerentur for the ordinary of the Mass;Palestrina's motet Dum complerentur at the Offertory; Attwood's lovely setting of Veni Creator Spiritus (originally written with English words) at Communion and Bach's fantasia Komm heiliger Geist as the finalvoluntary. Wonderful!
The celebration of Pentecost or Whitsunday, as a Christian feast, dates back to the first century and there is a reference to Pentecost as early as St Paul's first letter to the Corinthians (16:8).
The Mass for Pentecost has the lovely Sequence, "Veni Sancte Spiritus", which contains such wonderful lines as 'Bend the stubborn heart and will; Melt the frozen, warm the chill. Heal our wounds, our strength renew; On our dryness pour thy dew. Wash the stains of guilt away; Guide the steps that go astray.'
At Vespers is sung the great hymn "Veni Creator Spiritus". This dates back to a 10th century manuscript, but has been variously attributed to Emperor Charles the Fat, grandson of Charlemagne, Gregory the Great, St Ambrose, and Rhabanus Maurus, Archbishop of Mainz (c.776 - c.856). From the 11th century it was used in ordinations, and from 1307 (the date of the coronation of Edward II) at coronations in England. Rather remarkably, it is the only hymn specifically prescribed by the Anglican1662 Book of Common Prayer. Much later, the words of the hymn were used by Mahler for the majestic opening of his eighth symphony.
The colour of the vestments for Pentecost is red, a colour symbolic of the Holy Spirit or of the tongues of fire, which are said to have appeared on the heads of the apostles on the original Pentecost.
An ancient rule was that law courts did not sit during the entire week following Pentecost. Within my professional lifetime this remained the norm on England's North Eastern Circuit.
In Italy it was customary to scatter rose leaves from the ceiling of the churches to recall the miracle of the fiery tongues; hence in Sicily and elsewhere in Italy Whitsunday is called Pascha rosatum. The Italian name Pascha rossa comes from the red colour of the vestments used onWhitsunday. In France it was customary to blow trumpets during divine service, to recall the sound of the mighty wind which accompanied the descent of the Holy Spirit.
In England horse racing was the traditional Whitsun amusement for the gentry. For more ordinary folk the Whitsun Ales were the thing. These were, despite the name, not a type of beer but rather country fairs, with sports and competitions, morris dancing displays, music, plays and of course socialising, eating and drinking, in fact a major event on the social calendar.
This Pentecost Sunday I was in London so was able to attend the principal Mass at the Brompton Oratory. The vestments were sumptuous: beautiful rich red, woven through with golden thread, and with tasselled dalmatic and tunicle for the deacon and subdeacon.
The music was even better. A Buxtehude organ prelude before Mass;Victoria's Missa Dum complerentur for the ordinary of the Mass;Palestrina's motet Dum complerentur at the Offertory; Attwood's lovely setting of Veni Creator Spiritus (originally written with English words) at Communion and Bach's fantasia Komm heiliger Geist as the finalvoluntary. Wonderful!
Sunday, May 21, 2006
Puccini's Neglected Masterpiece
Lacking the verismo melodrama of his better-known works and featuring not a single fatality, never mind death from consumption, murder or suicide, Puccini’s “La Rondine” was sidelined for many years as a ‘slight’ work.
The restoration of this charming opera’s reputation internationally owes a lot to the award-winning 1997 recording conducted by Antonio Pappano and with Roberto Alagna and Angela Gheorghiu in the principal roles.
But three years before that recording, Opera North had returned the opera to the British stage in a production by Francesca Zambello, which production has recently been revived and I saw it on 20 May.
The elegance and bitter sweet charm of the work is captivating, and there are many clever and witty moments in the orchestration (including a quote from Strauss’s “Salome”). All right, there is a lot of music in waltz time, which some find a problem, but I just find that adds to this opera’s rather individual voice.
The opera centres around Magda, a Parisian kept woman. Into her life comes the handsome and charming Ruggero and, she concealing her past life, they fall in love and leave Paris together. He secretly contacts his family and obtains his mother’s blessing for them to be married. In the original version Magda knows that her past makes this impossible and realises that they must part. Opera North chose to present an alternative and later ending in which Ruggero discovers Magda’s past and he rejects her. This choice of ending is a mistake as it robs the central character of a lot of her nobility, turns Ruggero into a cad and also injects elements of anger and brutality into what is otherwise a very delicate and sensitive piece.
Janis Kelly was a touching Magda and Rafael Rojas presented a well-sung if rather oafish Ruggero. The Zambello production still works very well, moving from the claustrophobic dark interior of Act I to the bright gaiety of Act II and ending with the brilliant ‘no hiding place’ sunshine of the Riviera in Act III.
The main problem with the performance was the insensitive conducting of Richard Farnes. His speeds were consistently fast (the singers often struggling to keep up) and the orchestra was far too loud. I do not think it asking too much of a professional opera orchestra to produce something less than a mezzo-forte at some point in the evening. The result of this was that what should be delicate and flowing was brash and rushed and the opera was drained of a lot of its considerable charm.
The restoration of this charming opera’s reputation internationally owes a lot to the award-winning 1997 recording conducted by Antonio Pappano and with Roberto Alagna and Angela Gheorghiu in the principal roles.
But three years before that recording, Opera North had returned the opera to the British stage in a production by Francesca Zambello, which production has recently been revived and I saw it on 20 May.
The elegance and bitter sweet charm of the work is captivating, and there are many clever and witty moments in the orchestration (including a quote from Strauss’s “Salome”). All right, there is a lot of music in waltz time, which some find a problem, but I just find that adds to this opera’s rather individual voice.
The opera centres around Magda, a Parisian kept woman. Into her life comes the handsome and charming Ruggero and, she concealing her past life, they fall in love and leave Paris together. He secretly contacts his family and obtains his mother’s blessing for them to be married. In the original version Magda knows that her past makes this impossible and realises that they must part. Opera North chose to present an alternative and later ending in which Ruggero discovers Magda’s past and he rejects her. This choice of ending is a mistake as it robs the central character of a lot of her nobility, turns Ruggero into a cad and also injects elements of anger and brutality into what is otherwise a very delicate and sensitive piece.
Janis Kelly was a touching Magda and Rafael Rojas presented a well-sung if rather oafish Ruggero. The Zambello production still works very well, moving from the claustrophobic dark interior of Act I to the bright gaiety of Act II and ending with the brilliant ‘no hiding place’ sunshine of the Riviera in Act III.
The main problem with the performance was the insensitive conducting of Richard Farnes. His speeds were consistently fast (the singers often struggling to keep up) and the orchestra was far too loud. I do not think it asking too much of a professional opera orchestra to produce something less than a mezzo-forte at some point in the evening. The result of this was that what should be delicate and flowing was brash and rushed and the opera was drained of a lot of its considerable charm.
Saturday, May 20, 2006
Shostakovich at The Sage
The Sage has marked the Shostakovich centenary with a short but intense series of concerts (4 in 6 days) by the Kirov Orchestra conducted by Valery Gergiev.
Each concert consisted of a first half of music by Prokofiev and a second half given over to one of Shostakovich’s symphonies.
The Prokofiev pieces consisted of the suite of music from Romeo and Juliet; the first symphony and the first and second violin concertos, with Vadim Repin as the excellent soloist.
The four Shostakovich symphonies featured were the fifth, his best-known and most accessible, the eighth, the tenth and the fifteenth (his last).
The eighth I think I enjoyed the most with the dark intensity of its inner movements. The tenth was the one I knew the best but the orchestra were not on their best form for this (they had just had a weekend on Tyneside) and there were a distracting number of mistakes and cracked notes. The fifth is a glorious and thrilling piece.
The fifteenth is strange: the first movement is very light and jolly, with its repeated excursions into the William Tell overture. The last movement is much more serious and rather weird. Repeated quotes from Wagner (some music from the Ring and a bit of Tristan) seemed to be a mistake: to quote both a greater composer and greater works runs the real danger of making the composer’s own work seem rather inconsequential. The ending of the symphony is wonderful however, strange exotic percussion figures over long quiet sustained notes for the strings.
With the one exception I have noted, the orchestral playing was outstanding: a big sound and with a slightly raw quality to it which was ideal for this music. I have had my doubts about Gergiev’s conducting in the past (particularly in Verdi and Wagner) but this was music that suited him perfectly.
Each concert was received with great enthusiasm by an almost capacity audience. This series was quite a coup for the Sage and something of a tour de force for both orchestra and conductor.
Each concert consisted of a first half of music by Prokofiev and a second half given over to one of Shostakovich’s symphonies.
The Prokofiev pieces consisted of the suite of music from Romeo and Juliet; the first symphony and the first and second violin concertos, with Vadim Repin as the excellent soloist.
The four Shostakovich symphonies featured were the fifth, his best-known and most accessible, the eighth, the tenth and the fifteenth (his last).
The eighth I think I enjoyed the most with the dark intensity of its inner movements. The tenth was the one I knew the best but the orchestra were not on their best form for this (they had just had a weekend on Tyneside) and there were a distracting number of mistakes and cracked notes. The fifth is a glorious and thrilling piece.
The fifteenth is strange: the first movement is very light and jolly, with its repeated excursions into the William Tell overture. The last movement is much more serious and rather weird. Repeated quotes from Wagner (some music from the Ring and a bit of Tristan) seemed to be a mistake: to quote both a greater composer and greater works runs the real danger of making the composer’s own work seem rather inconsequential. The ending of the symphony is wonderful however, strange exotic percussion figures over long quiet sustained notes for the strings.
With the one exception I have noted, the orchestral playing was outstanding: a big sound and with a slightly raw quality to it which was ideal for this music. I have had my doubts about Gergiev’s conducting in the past (particularly in Verdi and Wagner) but this was music that suited him perfectly.
Each concert was received with great enthusiasm by an almost capacity audience. This series was quite a coup for the Sage and something of a tour de force for both orchestra and conductor.
Sunday, May 14, 2006
Goetterdaemmerung at the ROH
This completed the new Covent Garden Ring cycle, with full cycles promised for the autumn of 2007.
At the centre of this performance lay the magnificent playing of the orchestra: some of the most complete Wagner playing I have heard. From the warmth and depth of tone in the lower strings to the brilliance of the brass, every facet of this amazing score was revealed.
Antonio Pappano has a very clear grasp of what I regard as the essentials of great Wagner conducting: control of tempo and control of dynamics. At times he was as slow as Goodall; at others faster than Boehm - but every speed that is chosen fits the music - so the slow music neverdrags ('ohne zu schleppen' as Wagner wrote in the score) and the faster passages never seem rushed ('ziemlich rasch'). His control of dynamics means that the singers are always clearly audible and also that the quiet passages draw the audience in, almost holding our breath; and the loud passages (and surely this opera should produce some of the loudest music ever heard) just about blow you out of your seat.
With one exception, this was a first class cast. Lisa Gasteen(Bruennhilde) started a little tentatively and the top of the voice is not the most glorious. But this is a proper Bruennhilde voice and by the immolation scene it was really flying into the house. She also acts well - literally throwing herself about the stage in the second act.
John Tomlinson gave another outstanding performance as Hagen. Vocally secure and dramatically spot-on, this was vintage Wagner performing.
All the other parts were very well played, with particular mentions of Mihoko Fujimara as Waltraute and of the male chorus in Act II.
The exception, sadly, was John Treleaven's Siegfried. I say sadly because I so much wanted to like and admire his performance but the bestI can give him, honestly, is 'tries hard'. And he does try hard: he has all the notes, he does everything required of him and he looks and sounds as if he is doing his very best. For that reason I thought those who booed him at the end were unkind. But the voice is unattractive, his acting is of school play standard and he looks ungainly and awkward.
What of the production?
Well, this was not nearly as bad as I had been led to expect and a lot of it I liked. People have criticized Keith Warner for lack of a 'grand vision' of the Ring. But is that such a bad thing? What we had instead was mainly straight-forward story-telling, albeit in a modern setting. He tries to find answers to some of the difficulties that Wagner throws up (what do you do about Grane? How do you deal with the scene of Siegfried's return to the Valkyrie Rock disguised as Gunther?). The one idea that jarred heavily with me was that that that scene (and theWaltraute Scene) seemed to be taking place in a corner of the GibichungHall. That looked just like a bit of sloppiness.
Otherwise everything required was there: huge pyrotechnics at the end,with a spectacular fall from Gasteen (Tosca eat your heart out) and even a burning Valhalla and a dying Loge - as the fires also died and theRhine-maidens resumed their inheritance.
Finally, I greatly enjoyed this criticism of a production of Goetterdaemmerung, quoted in the programme (I have paraphrased it slightly):-
'The Director has no regard for Wagner's stage directions. He might have given the poor Norns a thread to wind and no boat could ever have arrived where Siegfried's did. The collapse of the Gibichung hall was unnecessary and unconvincing and considerable dramatic effect is lost if we do not see Siegfried's funeral pyre blazing and Bruennhilde throwing herself into it on her horse.'
Criticism of a piece of 'Euro-trash' or some way-out modern production? No. A review of the Covent Garden production from 1924!
At the centre of this performance lay the magnificent playing of the orchestra: some of the most complete Wagner playing I have heard. From the warmth and depth of tone in the lower strings to the brilliance of the brass, every facet of this amazing score was revealed.
Antonio Pappano has a very clear grasp of what I regard as the essentials of great Wagner conducting: control of tempo and control of dynamics. At times he was as slow as Goodall; at others faster than Boehm - but every speed that is chosen fits the music - so the slow music neverdrags ('ohne zu schleppen' as Wagner wrote in the score) and the faster passages never seem rushed ('ziemlich rasch'). His control of dynamics means that the singers are always clearly audible and also that the quiet passages draw the audience in, almost holding our breath; and the loud passages (and surely this opera should produce some of the loudest music ever heard) just about blow you out of your seat.
With one exception, this was a first class cast. Lisa Gasteen(Bruennhilde) started a little tentatively and the top of the voice is not the most glorious. But this is a proper Bruennhilde voice and by the immolation scene it was really flying into the house. She also acts well - literally throwing herself about the stage in the second act.
John Tomlinson gave another outstanding performance as Hagen. Vocally secure and dramatically spot-on, this was vintage Wagner performing.
All the other parts were very well played, with particular mentions of Mihoko Fujimara as Waltraute and of the male chorus in Act II.
The exception, sadly, was John Treleaven's Siegfried. I say sadly because I so much wanted to like and admire his performance but the bestI can give him, honestly, is 'tries hard'. And he does try hard: he has all the notes, he does everything required of him and he looks and sounds as if he is doing his very best. For that reason I thought those who booed him at the end were unkind. But the voice is unattractive, his acting is of school play standard and he looks ungainly and awkward.
What of the production?
Well, this was not nearly as bad as I had been led to expect and a lot of it I liked. People have criticized Keith Warner for lack of a 'grand vision' of the Ring. But is that such a bad thing? What we had instead was mainly straight-forward story-telling, albeit in a modern setting. He tries to find answers to some of the difficulties that Wagner throws up (what do you do about Grane? How do you deal with the scene of Siegfried's return to the Valkyrie Rock disguised as Gunther?). The one idea that jarred heavily with me was that that that scene (and theWaltraute Scene) seemed to be taking place in a corner of the GibichungHall. That looked just like a bit of sloppiness.
Otherwise everything required was there: huge pyrotechnics at the end,with a spectacular fall from Gasteen (Tosca eat your heart out) and even a burning Valhalla and a dying Loge - as the fires also died and theRhine-maidens resumed their inheritance.
Finally, I greatly enjoyed this criticism of a production of Goetterdaemmerung, quoted in the programme (I have paraphrased it slightly):-
'The Director has no regard for Wagner's stage directions. He might have given the poor Norns a thread to wind and no boat could ever have arrived where Siegfried's did. The collapse of the Gibichung hall was unnecessary and unconvincing and considerable dramatic effect is lost if we do not see Siegfried's funeral pyre blazing and Bruennhilde throwing herself into it on her horse.'
Criticism of a piece of 'Euro-trash' or some way-out modern production? No. A review of the Covent Garden production from 1924!
Thursday, April 27, 2006
Beckett Centenary
This year marks the centenary of the birth of the author Samuel Beckett, who was born in Dublin in 1906.
My experience of Beckett’s work is very limited. I have not see his most famous play "Waiting for Godot" and the only thing I had seen before was "Krapp’s Last Tape". I saw this in a highly praised production featuring John Hurt as Krapp but I must admit it didn’t do much for me.
Being in London over Easter weekend gave me a chance to sample more of Beckett’s writing at the Centenary Festival at the Barbican. I attended the pit theatre and saw a double bill of two short plays.
The first, "Play", consists of three characters sitting in urns, so that only their heads are visible. As the curtains open, the stage is dimly lit and the three characters are all mumbling at the same time. Then a spotlight moves from face to face as they each speak in a rapid monotone. Once the dialogue is completed, there is a short pause, and then the whole procedure is repeated.
As the fractured conversations emerged it became clear that the three characters are a man, his wife and his mistress. The wife is unhappy about the man having a mistress, the mistress is unhappy because the man will not quite leave his wife for her and it ends up with both women giving him the push and him on his own and missing them both.
At least I think that’s what it was all about, because as well as being rapid and monotonous, the speech was also very quiet, so it was very difficult to catch many of the words. Even hearing it twice.
The second play was "Catastrophe", set in a 1940s film studio as a director and his assistant control the movements and positions of an actor. It is a play about power and control and there were some subtle ideas about those concepts explored in this production: the assistant’s extraordinary walk, a mixture of a ‘power’ walk and the mincing of a dolly-bird secretary; the subtle interplay over lighting the director’s cigar: at first the assistant rushes to him to apply the light to the cigar but, on the final occasion, the assistant requires the director to cross the stage to where she is in order to get his light.
The production originated in Dublin and was directed by Selina Cartmell. I had better declare an interest here - one of her brothers was my pupil and another is a good friend of mine. But I am not just being loyal to friends when I say I enjoyed the evening very much (including a wonderful post-performance party with the cast at Selina's brother’s smart London flat) . The best compliment I can pay the director, cast and author is that it generated enough interest in me that I would now look out for more Beckett to try.
My experience of Beckett’s work is very limited. I have not see his most famous play "Waiting for Godot" and the only thing I had seen before was "Krapp’s Last Tape". I saw this in a highly praised production featuring John Hurt as Krapp but I must admit it didn’t do much for me.
Being in London over Easter weekend gave me a chance to sample more of Beckett’s writing at the Centenary Festival at the Barbican. I attended the pit theatre and saw a double bill of two short plays.
The first, "Play", consists of three characters sitting in urns, so that only their heads are visible. As the curtains open, the stage is dimly lit and the three characters are all mumbling at the same time. Then a spotlight moves from face to face as they each speak in a rapid monotone. Once the dialogue is completed, there is a short pause, and then the whole procedure is repeated.
As the fractured conversations emerged it became clear that the three characters are a man, his wife and his mistress. The wife is unhappy about the man having a mistress, the mistress is unhappy because the man will not quite leave his wife for her and it ends up with both women giving him the push and him on his own and missing them both.
At least I think that’s what it was all about, because as well as being rapid and monotonous, the speech was also very quiet, so it was very difficult to catch many of the words. Even hearing it twice.
The second play was "Catastrophe", set in a 1940s film studio as a director and his assistant control the movements and positions of an actor. It is a play about power and control and there were some subtle ideas about those concepts explored in this production: the assistant’s extraordinary walk, a mixture of a ‘power’ walk and the mincing of a dolly-bird secretary; the subtle interplay over lighting the director’s cigar: at first the assistant rushes to him to apply the light to the cigar but, on the final occasion, the assistant requires the director to cross the stage to where she is in order to get his light.
The production originated in Dublin and was directed by Selina Cartmell. I had better declare an interest here - one of her brothers was my pupil and another is a good friend of mine. But I am not just being loyal to friends when I say I enjoyed the evening very much (including a wonderful post-performance party with the cast at Selina's brother’s smart London flat) . The best compliment I can pay the director, cast and author is that it generated enough interest in me that I would now look out for more Beckett to try.
Wednesday, April 05, 2006
Anyone for Cocktails?
David Embury’s book "The Fine Art of Mixing Drinks" is the best book I have ever read about the science and art of cocktail making. It has now acquired cult status: Embury is as significant a figure to the world of cocktails as Elizabeth David is to cookery.
My own copy was a present some years ago but I note that it carries the price tag of £2.95. Trying to find this book on the internet today you will be doing well to find a copy for less than £100.
David Augustus Embury was born in 1886 in Pine Woods, New York. He was not a bar-tender or any sort of professional in the drinks trade but was in fact (surprise, surprise) a lawyer! For many years Embury was a senior tax partner with the respected Manhattan law firm of Curtis, Mallet-Prevost, Colt and Mosle. He died in New York in 1960.
What is so special about his book is that it is not just a list of cocktail recipes but he actually explains what a cocktail is and how the creation of a cocktail works. Chapter headings include “To Stir or to Shake”; “And a Twist of Lemon”; “Chilling and Frosting the Glasses”; “When is a Martini Strong”; “Roll Your Own” as well as the more philosophical “Alcohol and Feeble-Mindedness”; “Is Mixing Drinks Fatal” and “Alcohol, the Inevitable Concomitant of progress”.
The liqueur that Embury nominates as ‘the absolute king of all liqueurs … unsurpassed … for sheer excellence of flavour’ is Grand Marnier. So here is my own ‘roll my own’ tribute to the great DAE: not from a recipe of his, but according to his principles.
In a cocktail shaker put in one measure of Grand Marnier. Add two measures of orange juice or lemon juice (the latter will produce quite a ‘sharp’ drink). Then add eight measures of good quality gin (Bombay Sapphire or Tanqueray). Fill the shaker with ice and shake vigorously. Turn out into a previously chilled cocktail glass. Enjoy – and raise a toast to the memory of David Embury!
My own copy was a present some years ago but I note that it carries the price tag of £2.95. Trying to find this book on the internet today you will be doing well to find a copy for less than £100.
David Augustus Embury was born in 1886 in Pine Woods, New York. He was not a bar-tender or any sort of professional in the drinks trade but was in fact (surprise, surprise) a lawyer! For many years Embury was a senior tax partner with the respected Manhattan law firm of Curtis, Mallet-Prevost, Colt and Mosle. He died in New York in 1960.
What is so special about his book is that it is not just a list of cocktail recipes but he actually explains what a cocktail is and how the creation of a cocktail works. Chapter headings include “To Stir or to Shake”; “And a Twist of Lemon”; “Chilling and Frosting the Glasses”; “When is a Martini Strong”; “Roll Your Own” as well as the more philosophical “Alcohol and Feeble-Mindedness”; “Is Mixing Drinks Fatal” and “Alcohol, the Inevitable Concomitant of progress”.
The liqueur that Embury nominates as ‘the absolute king of all liqueurs … unsurpassed … for sheer excellence of flavour’ is Grand Marnier. So here is my own ‘roll my own’ tribute to the great DAE: not from a recipe of his, but according to his principles.
In a cocktail shaker put in one measure of Grand Marnier. Add two measures of orange juice or lemon juice (the latter will produce quite a ‘sharp’ drink). Then add eight measures of good quality gin (Bombay Sapphire or Tanqueray). Fill the shaker with ice and shake vigorously. Turn out into a previously chilled cocktail glass. Enjoy – and raise a toast to the memory of David Embury!
Saturday, April 01, 2006
Royal Opera's New Season 2006-7
The season opens with a revival of “Faust”. This is an excellent production by David MacVicar. Angela Gheorghiu returns as Marguerite (I thought she was superb in the original run two years ago) with Piotr Beczala as Faust and John Relyea as Mephistofeles.
Concert performances of Halevy’s “La Juive” are an interesting novelty. But the presence of Dennis O’Neill as Eleazar will keep me well clear of them.
Those who think that everything written by Mozart is wonderful will, I am sure, want to go to “La Finta Giardiniera” (written when he was 18). For myself, I could think of a lot more deserving cases for a full scale new production.
Antonio Pappano makes his first appearance of the season conducting a revival of “Lady Macbeth of Mtsensk”. I thought this was a brilliant production of an extraordinary opera when it was new and would certainly go back to it. Many of the original cast return, including John Tomlinson as Boris, Katerina’s father-in-law, whom she murders with poisoned mushrooms. EvaMarie Westbroek makes her ROH debut as Katerina.
The revival of the long-established Copley production of “La Boheme” might be worth catching for Marcelo Alvarez as Rodolfo, as might “The Queen of Spades” for Katerina Dalayman’s debut in the role of Liza. I have never heard Vladimir Galouzine (Herman), but recent reports have not been encouraging.
Bizet’s “Carmen” is not one of my favourite operas but the ROH are obviously seeing it as a big event of the season with a new production, Pappano conducting and fifteen performance by two casts. Anna Caterina Antonacci (Carmen A) is described ‘one of today’s greatest sopranos’ on the cover of this month’s “Gramophone”. Jonas Kaufmann (Don Jose A) is interesting casting. Not sure it will be quite his part but he will certainly look good, as should Ildebrando d’Arcangelo as Escamillo.
What should be the star event of the season comes in January with a new production of “La Filled du Regiment” with Natalie Dessay as Marie and Juan Diego Florez as Tonio. The only possible downside to this is that Bruno Campanella is to conduct but I am sure those top Cs from JDF will make me even forget that.
A revival of Elijah Moshinsky’s rather hit-and-miss “Trovatore” (has anything been done about that ridiculously camp sword play during the soldiers’ chorus?) looks interesting for Alvarez as Manrico and Stephanie Blythe as Azucena. For those who may worry that Alvarez is too light for the role should remember that Manrico is largely a lyrical role that happens to have one big heroic aria and that, as well as singers such as Del Monaco and Corelli, singers like Bjoerling and Bergonzi also had great success in it.
Lovers of Handel opera will be delighted to see a revival of “Orlando” with Bejun Mehta in the title role and Charles Mackerras conducting.
Anyone who missed the original run of Thomas Ades’s “The Tempest” in 2004 should take the chance to see it in 2007. This is a ‘proper’ opera written by a major musical talent. It also shows off some star performances by Simon Keenlyside, Ian Bostridge, and, most remarkably of all, Cyndia Sieden as Ariel: her part makes the Queen of the night seem modest in tessitura.
Spring brings an evening of light entertainment with a double bill of Ravel’s “L’Heure Espagnole” and “Gianni Schicchi”. New productions by Richard Jones who can be brilliant or awful – these works might just suit his unusual talent. Pappano conducts and Bryn Terfel sings Gianni Schicchi for the first time.
Sondra Radvanovsky and Mark Elder might just tempt me to Verdi’s “Stiffelio”, but Jose Cura will scare me away. And it is a rather dull opera.
I will definitely be tempted to give “Pelleas et Melisande” another try. The last time I saw it I spent the first half hour thinking ‘I could listen to this all night’ and then the next three hours realizing that was exactly what I was going to have to do. The presence of Simon Keenlyside as Pelleas and Simon Rattle conducting might just win me over for the whole evening.
The combination of Karita Mattila and Pappano in the new production of “Fidelio” will be attractive to many. The production is by Juergen Flimm. The only production of his I have seen was his “Otello” in Berlin five years ago: it was rubbish.
Concert performances of “Thais” at the end of June look very enticing. I love Massenet’s music and a cast led by Renee Fleming, Thomas Hampson and Joseph Calleja looks hard to miss.
The first revival of the ROH’s new production of “Tosca” brings Violeta Urmana, Salvatore Licitra and Mark Delavan. If they are all on good form it could be a very good night.
The season ends with what looks like fairly routine revivals of “Rigoletto” (Agache, Gipali and Ciofi) and “Cosi fan Tutte”. The latter notable for Thomas Allen’s Alfonso and being conducted by Colin Davis.
Full information about the whole season can be found on the ROH website at:-
http://info.royaloperahouse.org/News/Index.cfm?ccs=971
Concert performances of Halevy’s “La Juive” are an interesting novelty. But the presence of Dennis O’Neill as Eleazar will keep me well clear of them.
Those who think that everything written by Mozart is wonderful will, I am sure, want to go to “La Finta Giardiniera” (written when he was 18). For myself, I could think of a lot more deserving cases for a full scale new production.
Antonio Pappano makes his first appearance of the season conducting a revival of “Lady Macbeth of Mtsensk”. I thought this was a brilliant production of an extraordinary opera when it was new and would certainly go back to it. Many of the original cast return, including John Tomlinson as Boris, Katerina’s father-in-law, whom she murders with poisoned mushrooms. EvaMarie Westbroek makes her ROH debut as Katerina.
The revival of the long-established Copley production of “La Boheme” might be worth catching for Marcelo Alvarez as Rodolfo, as might “The Queen of Spades” for Katerina Dalayman’s debut in the role of Liza. I have never heard Vladimir Galouzine (Herman), but recent reports have not been encouraging.
Bizet’s “Carmen” is not one of my favourite operas but the ROH are obviously seeing it as a big event of the season with a new production, Pappano conducting and fifteen performance by two casts. Anna Caterina Antonacci (Carmen A) is described ‘one of today’s greatest sopranos’ on the cover of this month’s “Gramophone”. Jonas Kaufmann (Don Jose A) is interesting casting. Not sure it will be quite his part but he will certainly look good, as should Ildebrando d’Arcangelo as Escamillo.
What should be the star event of the season comes in January with a new production of “La Filled du Regiment” with Natalie Dessay as Marie and Juan Diego Florez as Tonio. The only possible downside to this is that Bruno Campanella is to conduct but I am sure those top Cs from JDF will make me even forget that.
A revival of Elijah Moshinsky’s rather hit-and-miss “Trovatore” (has anything been done about that ridiculously camp sword play during the soldiers’ chorus?) looks interesting for Alvarez as Manrico and Stephanie Blythe as Azucena. For those who may worry that Alvarez is too light for the role should remember that Manrico is largely a lyrical role that happens to have one big heroic aria and that, as well as singers such as Del Monaco and Corelli, singers like Bjoerling and Bergonzi also had great success in it.
Lovers of Handel opera will be delighted to see a revival of “Orlando” with Bejun Mehta in the title role and Charles Mackerras conducting.
Anyone who missed the original run of Thomas Ades’s “The Tempest” in 2004 should take the chance to see it in 2007. This is a ‘proper’ opera written by a major musical talent. It also shows off some star performances by Simon Keenlyside, Ian Bostridge, and, most remarkably of all, Cyndia Sieden as Ariel: her part makes the Queen of the night seem modest in tessitura.
Spring brings an evening of light entertainment with a double bill of Ravel’s “L’Heure Espagnole” and “Gianni Schicchi”. New productions by Richard Jones who can be brilliant or awful – these works might just suit his unusual talent. Pappano conducts and Bryn Terfel sings Gianni Schicchi for the first time.
Sondra Radvanovsky and Mark Elder might just tempt me to Verdi’s “Stiffelio”, but Jose Cura will scare me away. And it is a rather dull opera.
I will definitely be tempted to give “Pelleas et Melisande” another try. The last time I saw it I spent the first half hour thinking ‘I could listen to this all night’ and then the next three hours realizing that was exactly what I was going to have to do. The presence of Simon Keenlyside as Pelleas and Simon Rattle conducting might just win me over for the whole evening.
The combination of Karita Mattila and Pappano in the new production of “Fidelio” will be attractive to many. The production is by Juergen Flimm. The only production of his I have seen was his “Otello” in Berlin five years ago: it was rubbish.
Concert performances of “Thais” at the end of June look very enticing. I love Massenet’s music and a cast led by Renee Fleming, Thomas Hampson and Joseph Calleja looks hard to miss.
The first revival of the ROH’s new production of “Tosca” brings Violeta Urmana, Salvatore Licitra and Mark Delavan. If they are all on good form it could be a very good night.
The season ends with what looks like fairly routine revivals of “Rigoletto” (Agache, Gipali and Ciofi) and “Cosi fan Tutte”. The latter notable for Thomas Allen’s Alfonso and being conducted by Colin Davis.
Full information about the whole season can be found on the ROH website at:-
http://info.royaloperahouse.org/News/Index.cfm?ccs=971
Tuesday, March 07, 2006
Verdi's "Macbeth" at the ROH
This run of performances has gathered very mixed notices including some very bad ones from people whose opinions I respect and normally agree with. For myself I thought this was definitely one for the ‘success’ column of the ROH.
Starting with the title role, I thought this one of the best and most sensitive performances Thomas Hampson has given for some time. Sensitive? Macbeth? I can hear you say… Yes indeed, I reply. There is a great deal of subtlety in Verdi’s role and throughout the opera there is great contrast between the dark, quiet shadowy music (often conversational in tone) and the grander (particularly more public) moments. I felt that Hampson (assisted by the conducting of ROH debutant Yakov Kreizberg) captured this excellently.
It was announced that Violeta Urmana was suffering from a cold. Her opening aria was a little tentative and the top D flat in the sleep-walking scene just didn’t happen. That said, this was a considerable performance of vocal weight, particularly in the lower part of the voice.
John Relyea’s voice was neither as attractive nor as sonorous as I remember it. Joseph Calleja sang Macduff. He has a very penetrating voice (clearly audible in the ensembles) but the fast vibrato gives it a slightly ‘bleating’ quality. I am not sure where I see this singer’s career going.
The only member of the cast that was below an acceptable standard for the ROH was Andrew Sritheran as Malcolm. His fellow ‘Young Artist’ Robert Gleadow made considerable impact as the Doctor.
Yakov Kreizberg’s conducting was crisp and lively, with excellent support for the singers and an impressive contrast between the quieter, private moments and the large and loud events. The chorus and orchestra made an excellent noise.
I found Phyllida Lloyd’s production showed many of her best qualities. It was intelligent and effective with many of her innovations clearly arising out of either music or text. I liked the idea of the witches as the continuing agents of fate, even intervening to save Fleance. The colour themes were effective as was the unflinching portrayal of the violence and cruelty of the Macbeths’ world (all those on-stage corpses). And again, the contrast between the dark, claustrophobic and private and the open and public was effectively shown.
The best tribute I can pay to production and performers is that I left the theatre probably more impressed by the quality of Verdi’s opera than by any other performance of it I have seen.
Starting with the title role, I thought this one of the best and most sensitive performances Thomas Hampson has given for some time. Sensitive? Macbeth? I can hear you say… Yes indeed, I reply. There is a great deal of subtlety in Verdi’s role and throughout the opera there is great contrast between the dark, quiet shadowy music (often conversational in tone) and the grander (particularly more public) moments. I felt that Hampson (assisted by the conducting of ROH debutant Yakov Kreizberg) captured this excellently.
It was announced that Violeta Urmana was suffering from a cold. Her opening aria was a little tentative and the top D flat in the sleep-walking scene just didn’t happen. That said, this was a considerable performance of vocal weight, particularly in the lower part of the voice.
John Relyea’s voice was neither as attractive nor as sonorous as I remember it. Joseph Calleja sang Macduff. He has a very penetrating voice (clearly audible in the ensembles) but the fast vibrato gives it a slightly ‘bleating’ quality. I am not sure where I see this singer’s career going.
The only member of the cast that was below an acceptable standard for the ROH was Andrew Sritheran as Malcolm. His fellow ‘Young Artist’ Robert Gleadow made considerable impact as the Doctor.
Yakov Kreizberg’s conducting was crisp and lively, with excellent support for the singers and an impressive contrast between the quieter, private moments and the large and loud events. The chorus and orchestra made an excellent noise.
I found Phyllida Lloyd’s production showed many of her best qualities. It was intelligent and effective with many of her innovations clearly arising out of either music or text. I liked the idea of the witches as the continuing agents of fate, even intervening to save Fleance. The colour themes were effective as was the unflinching portrayal of the violence and cruelty of the Macbeths’ world (all those on-stage corpses). And again, the contrast between the dark, claustrophobic and private and the open and public was effectively shown.
The best tribute I can pay to production and performers is that I left the theatre probably more impressed by the quality of Verdi’s opera than by any other performance of it I have seen.
Sunday, February 12, 2006
Opera North's "Salome"
There was a little girl,
Who had a little curl,
Right in the middle of her forehead.
When she was good,
She was very good indeed,
But when she was bad she was horrid.
I often feel that the words of Longfellow’s little poem apply to Opera North. I have seen some marvellous things from them: “The Bartered Bride” and their updated “L’Elisir D’Amore” with Dulcamara arriving in a balloon spring to mind. They were the first company, certainly in the UK, to recognize Puccini’s “La Rondine” for the masterpiece that it is.
But when they are bad, they are truly horrid: undercast, badly conducted, and with productions that have made my toes curl with embarrassment at their awfulness. Anyone remember their “Tosca”? Or “Pagliacci”?
I am happy to report then that their current “Salome” (seen at the Sage on Saturday 11 February) is very definitely in the ‘very good’ column.
It is a concert performance, but with appropriate entrances and exits and the squabbling Jews placed in the balcony. I often find concert performances of opera surprisingly effective and so it was with this.
The performance was built round the considerable presence of Susan Bullock as Salome. Not the most beautiful voice, it is nevertheless a solid and expressive instrument and used here with both subtlety and, where needed, enormous power. Matching her for volume at times was Anne-Marie Owens as a wonderfully hatchet-faced Herodias.
Perhaps the most dramatically effective performance came from Peter Hoare as Herod (even though he was using a score). This was excellent singing, diction and presentation in a gift of part for a good character tenor.
Philip Joll (Jokanaan) must be considered something of a veteran (he sang Kurwenal for Goodall in 1981) and the voice does have occasional gruff patches in it now. When it rang freely, particularly at the top, it can still be a thrilling sound.
All the minor parts were very well taken, with particular mention of Leonardo Capalbo’s lovely lyric Narraboth.
Terrific playing from the orchestra under Richard Farnes, never drowning the singers but able to release shattering volume when required. The moment of the arrival of Jokanaan’s had the whole hall shaking.
This was as enjoyable a presentation of Salome as I can remember and when Opera North are on this form they are world class.
Who had a little curl,
Right in the middle of her forehead.
When she was good,
She was very good indeed,
But when she was bad she was horrid.
I often feel that the words of Longfellow’s little poem apply to Opera North. I have seen some marvellous things from them: “The Bartered Bride” and their updated “L’Elisir D’Amore” with Dulcamara arriving in a balloon spring to mind. They were the first company, certainly in the UK, to recognize Puccini’s “La Rondine” for the masterpiece that it is.
But when they are bad, they are truly horrid: undercast, badly conducted, and with productions that have made my toes curl with embarrassment at their awfulness. Anyone remember their “Tosca”? Or “Pagliacci”?
I am happy to report then that their current “Salome” (seen at the Sage on Saturday 11 February) is very definitely in the ‘very good’ column.
It is a concert performance, but with appropriate entrances and exits and the squabbling Jews placed in the balcony. I often find concert performances of opera surprisingly effective and so it was with this.
The performance was built round the considerable presence of Susan Bullock as Salome. Not the most beautiful voice, it is nevertheless a solid and expressive instrument and used here with both subtlety and, where needed, enormous power. Matching her for volume at times was Anne-Marie Owens as a wonderfully hatchet-faced Herodias.
Perhaps the most dramatically effective performance came from Peter Hoare as Herod (even though he was using a score). This was excellent singing, diction and presentation in a gift of part for a good character tenor.
Philip Joll (Jokanaan) must be considered something of a veteran (he sang Kurwenal for Goodall in 1981) and the voice does have occasional gruff patches in it now. When it rang freely, particularly at the top, it can still be a thrilling sound.
All the minor parts were very well taken, with particular mention of Leonardo Capalbo’s lovely lyric Narraboth.
Terrific playing from the orchestra under Richard Farnes, never drowning the singers but able to release shattering volume when required. The moment of the arrival of Jokanaan’s had the whole hall shaking.
This was as enjoyable a presentation of Salome as I can remember and when Opera North are on this form they are world class.
Friday, February 03, 2006
Mozart (and Florez!) in Tenerife
This was my first visit to Tenerife and my first visit to the CanaryIslands Music Festival, which is now attracting some high quality, not to say star quality participants.
The Tenerife part of the Festival is centred on the new Auditorio deTenerife and both concerts I attended took place there. This is a spectacular building designed by the Spanish architect Calatrava and is reckoned to be his tribute to Gaudi. The form of the building is based on the shape of an ancient Greek helmet and is indeed very Gaudi-esque with lots of curves and curls and a huge 'plume' that sweeps over the top of the whole construction. The outside is decorated with white mosaic so when the floodlights come on at night the whole building glistens: stunning!
http://www.auditoriodetenerife.com/galeriafotos.php
The main auditorium is all in one tier and seats about 1600. Lest I be accused of disloyalty to my native Tyneside, I don't think the acoustics are as good as the Sage! But the staff are more smartly turned out, the programmes are free and a glass of wine only cost two euros...
The highlight of the whole trip was the recital by Juan Diego Florez: one of the most extraordinary singers I have ever heard. He sang a demanding programme not just immaculately but thrillingly, moving from simple tenderness to bravura brilliance. An unforgettable evening.
The concert started with three Mozart arias. Of these, the most interesting experience was to hear JDF sing "Il Mio Tesoro". His singing here could be analysed at three levels. Firstly his technical expertise meant that he could sing the music as it is written without the little pauses and other tricks that are so often heard. Secondly, that technical accomplishment meant that this was more than a mere obstacle-course but a genuine piece of music making. Thirdly, the previous two assets meant that he was able to take us beyond ‘mere’ music to an even greater completeness of communication. In less pompous terms, he ‘tells the story’.
The first half of the concert was completed by more familiar JDF material: arias from "Il Turco in Italia" and "Semiramide" showing that he has lost none of his feel for Rossini style.
The second half opened in quieter mood with three Bellini songs. "Malinconia" is well known but the charming "Vanne o rosa" was new to me. No spectacular coloratura or thrilling high notes; just seamless legato and beauty of tone.
More bel canto to round off the programme: arias from Donizetti’s "Linda di Chamounix" and "Lucrezia Borgia".
By the end of all this the capacity audience were in a JDF frenzy and roared him on through four encores, the best of which was "Spirito Gentil" from "La Favorita"; but the loudest cheers came for "La Donna e Mobile" with an outrageously held final top note.
This was a fabulous concert. Leaving aside the high notes and the amazing skill in fast passage-work, what makes JDF such a special singer is his demonstration of the basic skills of singing: beauty of tone, steadiness of emission, perfect legato; breadth of phrasing (built on wonderful breath control); clear diction.
It all sounds so simple, yet is so difficult to accomplish. This man, as much as any singer I have every heard, is the complete article.
I was not sure that I would enjoy the second concert (Mozart's "LaClemenza di Tito") but that also turned out to be a great success. They shortened the opera by cutting out the recitative (which is reckoned not to be by Mozart anyway) so things fairly sped along. The singing of the principals (Iris Vermilion, Hannah Esther Minutillo, Nicola Uliveri,Charles Workman and Melanie Diener) was very good indeed as were the local orchestra and chorus conducted by Victor Pablo Perez. The evening was summed up by one of the elderly ladies from my tour group with whomI shared a taxi back to the hotel. 'Here we are', she said, 'we only met two days ago, we are from different backgrounds and different generations, but I can tell we have both been given a real lift by that music tonight'. And she was right.
The Tenerife part of the Festival is centred on the new Auditorio deTenerife and both concerts I attended took place there. This is a spectacular building designed by the Spanish architect Calatrava and is reckoned to be his tribute to Gaudi. The form of the building is based on the shape of an ancient Greek helmet and is indeed very Gaudi-esque with lots of curves and curls and a huge 'plume' that sweeps over the top of the whole construction. The outside is decorated with white mosaic so when the floodlights come on at night the whole building glistens: stunning!
http://www.auditoriodetenerife.com/galeriafotos.php
The main auditorium is all in one tier and seats about 1600. Lest I be accused of disloyalty to my native Tyneside, I don't think the acoustics are as good as the Sage! But the staff are more smartly turned out, the programmes are free and a glass of wine only cost two euros...
The highlight of the whole trip was the recital by Juan Diego Florez: one of the most extraordinary singers I have ever heard. He sang a demanding programme not just immaculately but thrillingly, moving from simple tenderness to bravura brilliance. An unforgettable evening.
The concert started with three Mozart arias. Of these, the most interesting experience was to hear JDF sing "Il Mio Tesoro". His singing here could be analysed at three levels. Firstly his technical expertise meant that he could sing the music as it is written without the little pauses and other tricks that are so often heard. Secondly, that technical accomplishment meant that this was more than a mere obstacle-course but a genuine piece of music making. Thirdly, the previous two assets meant that he was able to take us beyond ‘mere’ music to an even greater completeness of communication. In less pompous terms, he ‘tells the story’.
The first half of the concert was completed by more familiar JDF material: arias from "Il Turco in Italia" and "Semiramide" showing that he has lost none of his feel for Rossini style.
The second half opened in quieter mood with three Bellini songs. "Malinconia" is well known but the charming "Vanne o rosa" was new to me. No spectacular coloratura or thrilling high notes; just seamless legato and beauty of tone.
More bel canto to round off the programme: arias from Donizetti’s "Linda di Chamounix" and "Lucrezia Borgia".
By the end of all this the capacity audience were in a JDF frenzy and roared him on through four encores, the best of which was "Spirito Gentil" from "La Favorita"; but the loudest cheers came for "La Donna e Mobile" with an outrageously held final top note.
This was a fabulous concert. Leaving aside the high notes and the amazing skill in fast passage-work, what makes JDF such a special singer is his demonstration of the basic skills of singing: beauty of tone, steadiness of emission, perfect legato; breadth of phrasing (built on wonderful breath control); clear diction.
It all sounds so simple, yet is so difficult to accomplish. This man, as much as any singer I have every heard, is the complete article.
I was not sure that I would enjoy the second concert (Mozart's "LaClemenza di Tito") but that also turned out to be a great success. They shortened the opera by cutting out the recitative (which is reckoned not to be by Mozart anyway) so things fairly sped along. The singing of the principals (Iris Vermilion, Hannah Esther Minutillo, Nicola Uliveri,Charles Workman and Melanie Diener) was very good indeed as were the local orchestra and chorus conducted by Victor Pablo Perez. The evening was summed up by one of the elderly ladies from my tour group with whomI shared a taxi back to the hotel. 'Here we are', she said, 'we only met two days ago, we are from different backgrounds and different generations, but I can tell we have both been given a real lift by that music tonight'. And she was right.
Wednesday, January 11, 2006
Birgit Nilsson RIP
Birgit Nilsson has died at the age of 87. She was one of the greatest singers of the second half of the twentieth century.
I am (just) old enough to have heard her live. It was as Strauss’s Elektra at Covent Garden in the 1970s. Gwyneth Jones was Chrythosemis – so the decibel levels were sky-high - and the performance was unforgettable.
Nilsson was the epitome of the Hoch-Dramatische soprano. She had a voice with both steel to it but also a hint of northern sunlight. She seemed vocally to be utterly tireless. Yet she was not just a ‘noise machine’: often she revealed great dramatic insight and subtlety.
Probably her most famous recording is her Bruennhilde on the Decca “Ring”. Yet for me that is not her best Wagner. I prefer her recording of the Ring conducted by Karl Boehm. She responds brilliantly to Boehm’s more vital and dramatic conducting and the effect of this being a live recording (recorded at the Bayreuth Festival) gives the whole thing a thrilling edge.
Well away from Wagner, there is a fantastic live recording of “Turandot”: a performance from La Scala Milan in 1964 with Franco Corelli as Calaf and Galina Vishneskaya as Liu. Goose-bumps all the way!
Undoubtedly my favourite commercial recording is her “Elektra” with Solti. This is a part that suited her extraordinary talents like no other. The strength of the voice and its slightly metallic edge suit the deranged daughter of Agamemnon to perfection. Listen to her opening solo and be amazed.
I am (just) old enough to have heard her live. It was as Strauss’s Elektra at Covent Garden in the 1970s. Gwyneth Jones was Chrythosemis – so the decibel levels were sky-high - and the performance was unforgettable.
Nilsson was the epitome of the Hoch-Dramatische soprano. She had a voice with both steel to it but also a hint of northern sunlight. She seemed vocally to be utterly tireless. Yet she was not just a ‘noise machine’: often she revealed great dramatic insight and subtlety.
Probably her most famous recording is her Bruennhilde on the Decca “Ring”. Yet for me that is not her best Wagner. I prefer her recording of the Ring conducted by Karl Boehm. She responds brilliantly to Boehm’s more vital and dramatic conducting and the effect of this being a live recording (recorded at the Bayreuth Festival) gives the whole thing a thrilling edge.
Well away from Wagner, there is a fantastic live recording of “Turandot”: a performance from La Scala Milan in 1964 with Franco Corelli as Calaf and Galina Vishneskaya as Liu. Goose-bumps all the way!
Undoubtedly my favourite commercial recording is her “Elektra” with Solti. This is a part that suited her extraordinary talents like no other. The strength of the voice and its slightly metallic edge suit the deranged daughter of Agamemnon to perfection. Listen to her opening solo and be amazed.
Sunday, January 08, 2006
Celebrating Mozart's 250th with the Greatest Singer in the World
January 27 is reckoned to be the 250th anniversary of the birth of Mozart.
I will be marking the occasion by making my first visit to Tenerife and the Canary Islands Music Festival. The concerts of the festival take place in the new Auditorio de Tenerife, a fantastic looking structure designed by Calatrava.
I will be going to a concert performance of "La Clemenza di Tito" but the highlight of the visit promises to be on Mozart's birthday itself with a recital by Juan Diego Florez, who will just have celebrated his 33rd birthday. Although I have seen Florez several time in opera I have never heard him in recital. By all accounts, his concerts are hugely exciting events.
A bit like barristers, opera fans tend to be great devotees of "The Golden Age". The language is different but the concepts are often the same. Whereas the Bar Gadgee will talk wistfully of Undefended Divorce, the old Opera Fan will speak with inordinate affection of the Carl Rosa Opera Company. When in the robing room you will still hear people saying 'Myrella Cohen would have sorted this out' so in the Floral Hall at Covent Garden you will hear voices saying 'but of course no-one has sung this properly since Zinka Milanov'.
It is a very special event, then, when a singer appears on the opera circuit who actually has even the Golden Agers saying 'this is something special'. This happened with the spectacular rise of Juan Diego Florez.
He first came to my attention when he sang Rodrigo in Rossini's "Otello" at Covent Garden just after it reopened. He returned to the Royal Opera House as the tenor lead in Rossini's "La Cenerentola" and Bellini's "La Sonnambula". His speciality is the music of the early nineteenth century, which requires a tenor with a voice of clarity and flexibility, considerable coloratura skill and good high notes.
I next heard Florez at Covent Garden in "La Cenerentola". His singing that evening was not just a joy to hear, it was a privilege. At this performance everything was in place. His voice seemed to have more warmth and sweetness to it than it had. He sang a beautiful legato line. He decorated scrupulously and apparently effortlessly and without obscuring the musical line. His high notes were clear, true and bold. His diction was clear, he acted naturally and convincingly and he looked fantastic.
In 2004 I undertook the enormous hardship of travelling to the Rossini Festival in Pesaro to hear him in "Matilde de Shabran". This was the work in which Florez had his first big break at Pesaro back in 1996 and he returned in total triumph in the leading role of Corradino. "Matilde" is a fascinating piece in that its only solo arias are for minor characters and so almost the entire opera consists of ensemble pieces. The venue for this performance was the Teatro Rossini, a beautiful little gem of a theatre with clear acoustics and a wonderful sense of contact between performers and audience.
It is tempting to say of this performance that Florez was Florez. But that is to take for granted something that is very special. He looked terrific and had an easy and attractive stage manner. He acted well, particularly in the comic moments of the first act. His incredible technical expertise was completely on display as were his ringing and clear top notes. What struck me more then anything in this performance, however, was the sheer beauty of his voice, particularly when singing quietly. At times in the second act it was almost as if one's ears were being caressed with the softest velvet.
His most recent appearance at Covent Garden was last season in “Don Pasquale”. It was difficult to say which was the more amazing: Florez's pyrotechnics in the second act aria or the beauty of tone and perfectly clear legato line in the serenade. What was so impressive about the second act cabaletta was not just the high notes and obvious stuff but the precision of the staccato notes and the incredible delicacy and accuracy of the decorations in the second verse.
I think he is one of the great opera stars of our time. Further than that, going back through my memory and my recordings, I think he stands comparison with the greatest singers from the past in this repertoire. His performances take me back, before recordings, to accounts of the great tenors of the nineteenth century Rubini, Mario and David.
I will be marking the occasion by making my first visit to Tenerife and the Canary Islands Music Festival. The concerts of the festival take place in the new Auditorio de Tenerife, a fantastic looking structure designed by Calatrava.
I will be going to a concert performance of "La Clemenza di Tito" but the highlight of the visit promises to be on Mozart's birthday itself with a recital by Juan Diego Florez, who will just have celebrated his 33rd birthday. Although I have seen Florez several time in opera I have never heard him in recital. By all accounts, his concerts are hugely exciting events.
A bit like barristers, opera fans tend to be great devotees of "The Golden Age". The language is different but the concepts are often the same. Whereas the Bar Gadgee will talk wistfully of Undefended Divorce, the old Opera Fan will speak with inordinate affection of the Carl Rosa Opera Company. When in the robing room you will still hear people saying 'Myrella Cohen would have sorted this out' so in the Floral Hall at Covent Garden you will hear voices saying 'but of course no-one has sung this properly since Zinka Milanov'.
It is a very special event, then, when a singer appears on the opera circuit who actually has even the Golden Agers saying 'this is something special'. This happened with the spectacular rise of Juan Diego Florez.
He first came to my attention when he sang Rodrigo in Rossini's "Otello" at Covent Garden just after it reopened. He returned to the Royal Opera House as the tenor lead in Rossini's "La Cenerentola" and Bellini's "La Sonnambula". His speciality is the music of the early nineteenth century, which requires a tenor with a voice of clarity and flexibility, considerable coloratura skill and good high notes.
I next heard Florez at Covent Garden in "La Cenerentola". His singing that evening was not just a joy to hear, it was a privilege. At this performance everything was in place. His voice seemed to have more warmth and sweetness to it than it had. He sang a beautiful legato line. He decorated scrupulously and apparently effortlessly and without obscuring the musical line. His high notes were clear, true and bold. His diction was clear, he acted naturally and convincingly and he looked fantastic.
In 2004 I undertook the enormous hardship of travelling to the Rossini Festival in Pesaro to hear him in "Matilde de Shabran". This was the work in which Florez had his first big break at Pesaro back in 1996 and he returned in total triumph in the leading role of Corradino. "Matilde" is a fascinating piece in that its only solo arias are for minor characters and so almost the entire opera consists of ensemble pieces. The venue for this performance was the Teatro Rossini, a beautiful little gem of a theatre with clear acoustics and a wonderful sense of contact between performers and audience.
It is tempting to say of this performance that Florez was Florez. But that is to take for granted something that is very special. He looked terrific and had an easy and attractive stage manner. He acted well, particularly in the comic moments of the first act. His incredible technical expertise was completely on display as were his ringing and clear top notes. What struck me more then anything in this performance, however, was the sheer beauty of his voice, particularly when singing quietly. At times in the second act it was almost as if one's ears were being caressed with the softest velvet.
His most recent appearance at Covent Garden was last season in “Don Pasquale”. It was difficult to say which was the more amazing: Florez's pyrotechnics in the second act aria or the beauty of tone and perfectly clear legato line in the serenade. What was so impressive about the second act cabaletta was not just the high notes and obvious stuff but the precision of the staccato notes and the incredible delicacy and accuracy of the decorations in the second verse.
I think he is one of the great opera stars of our time. Further than that, going back through my memory and my recordings, I think he stands comparison with the greatest singers from the past in this repertoire. His performances take me back, before recordings, to accounts of the great tenors of the nineteenth century Rubini, Mario and David.
Monday, January 02, 2006
Santiago de Compostela
I have started reading one of my Christmas presents: "The Templar's Penance" by Michael Jecks. It is a mediaeval 'whodunnit' set in and around the great pilgrimage city of Santiago de Compostela in North West Spain. The first few chaopters have already stirred in me vivid memories of my own pilgrimage there in the summer of 2004.
Here is the account of it that I wrote at the time.
Santiago de Compostela, the resting place of the relics of the apostle St James in the northwest corner of Spain, was (along with Rome and the Holy Land) one of the three great Christian pilgrimage sites of mediaeval times. In terms of numbers, it has now been overtaken by more modern shrines such as Lourdes and Fatima but it remains probably the greatest proper 'pilgrimage', with great significance attached to the journey, not just the fact of visiting the city itself.
I would love to be able to report that I had taken up my pilgrim's staff, filled my gourd with water, slung a scallop shell around my neck and walked the pilgrim's way or "Camino". Sadly (but you may think not surprisingly) I have to report that my pilgrimage was accomplished with the assistance of an air-conditioned coach and four-star hotels.
Our group of twenty-two, led by a flamboyant Irishwoman, and including pilgrims from Trinidad, Australia and Hong Kong, started off from Bilbao in which we only had time to view the outside of the famous Guggenheim museum
Our first stop on the Camino proper was at Burgos, which has a cathedral regarded as one of Spain's three finest examples of Gothic architecture. I was not quite as enthralled by this as I thought I ought to be: too much had been added on over the centuries leaving a rather 'mix-and-match' feel to it.
Leon, our next overnight stop, impressed me much more. The Cathedral is a truly magnificent example of Gothic architecture in the French style, filled with superb stained glass windows. We were fortunate to be shown around by a guide who did not just tell us the history of the place but explained the symbolism of many of the statues and, particularly the windows. They are laid out so that, first thing in the morning, in the north aisle, scenes from the Old Testament are illustrated. Then, as the day wears on and the sun becomes stronger, it is New Testament images that are highlighted. Having a priest in our party, we were able to have our own early morning Mass at the High Altar, at which I was invited to sing. That Mass, with the morning sun just starting to break through the fabulous stained glass and with Gregorian Chant bouncing around the acoustics of the empty Cathedral remains one of my greatest memories of the pilgrimage.
By now we were less than 200 miles from our destination and stopped at Astorga to visit its Cathedral and Bishop's palace. The Cathedral was a total mix-and-match mess but the palace is extraordinary. It is one of only three buildings that Gaudi designed outside of Barcelona and has the outside appearance of a fairy-tale castle with an inside that displays Gaudi's genius for shapes and arches that look as if they should not be able to stand.
By now we were really hitting the Camino and there were regular sightings of the true pilgrims walking along the road. After another day's travel and Mass in a tiny 9th century church set among mountains shrouded in mist, we were in sight of our goal.
As the feast of St James (25 July) fell on a Sunday this year, which makes it a special 'Holy Year' for Santiago, I expected it to be busy. When we arrived, we were told that the King and Queen were to be there for Saturday evening and Sunday, so for 'busy' read 'insane'. It did mean that is was a very exciting time to be there. The place was crowded and packed with bands playing, folk dancers dancing and then there was a huge and spectacular firework display over the Cathedral to mark midnight and the start of the Saint's Day. I decided that discretion was the better part of valour the next morning and stayed in my air-conditioned hotel room to watch the Mass attended by the King on the telly.
I was very fortunate in that a distinguished early music group called "Organum" was in Santiago to sing for the Feast Day. I was able to attend their Lauds (morning prayer) in the Cathedral and also a concert reconstruction of a Pilgrim's Mass from the 12th century. The latter was particularly interesting and impressive as the choir roared out the mediaeval pilgrim's hymn to end the Mass, complete with early harmonies and droning basses.
The modern "Pilgrim's Hymn" is rather less thrilling, rather more sentimental and, alas, is sung in Spanish rather than Latin. But it does accompany the unique experience of Santiago: the swinging of the "Botafumeiro" at the end of the Pilgrim's Mass. This giant thurible (incense burner) hangs at the crossing between the nave and the transept and is the size of a small dustbin. Suspended on a single rope, it is first lowered to be filled with incense by the officiating bishop; then it is set gently swinging. As a group of men pull on ropes to lift it, the speed of its swing increases until it is soaring across the whole width of the cathedral, reaching almost up the roof. After my pampered and air-conditioned journey, I found this a stirring moment. I suspect that if you had been walking for six weeks and this was the climax of your pilgrimage, the experience would be overwhelming.
Here is the account of it that I wrote at the time.
Santiago de Compostela, the resting place of the relics of the apostle St James in the northwest corner of Spain, was (along with Rome and the Holy Land) one of the three great Christian pilgrimage sites of mediaeval times. In terms of numbers, it has now been overtaken by more modern shrines such as Lourdes and Fatima but it remains probably the greatest proper 'pilgrimage', with great significance attached to the journey, not just the fact of visiting the city itself.
I would love to be able to report that I had taken up my pilgrim's staff, filled my gourd with water, slung a scallop shell around my neck and walked the pilgrim's way or "Camino". Sadly (but you may think not surprisingly) I have to report that my pilgrimage was accomplished with the assistance of an air-conditioned coach and four-star hotels.
Our group of twenty-two, led by a flamboyant Irishwoman, and including pilgrims from Trinidad, Australia and Hong Kong, started off from Bilbao in which we only had time to view the outside of the famous Guggenheim museum
Our first stop on the Camino proper was at Burgos, which has a cathedral regarded as one of Spain's three finest examples of Gothic architecture. I was not quite as enthralled by this as I thought I ought to be: too much had been added on over the centuries leaving a rather 'mix-and-match' feel to it.
Leon, our next overnight stop, impressed me much more. The Cathedral is a truly magnificent example of Gothic architecture in the French style, filled with superb stained glass windows. We were fortunate to be shown around by a guide who did not just tell us the history of the place but explained the symbolism of many of the statues and, particularly the windows. They are laid out so that, first thing in the morning, in the north aisle, scenes from the Old Testament are illustrated. Then, as the day wears on and the sun becomes stronger, it is New Testament images that are highlighted. Having a priest in our party, we were able to have our own early morning Mass at the High Altar, at which I was invited to sing. That Mass, with the morning sun just starting to break through the fabulous stained glass and with Gregorian Chant bouncing around the acoustics of the empty Cathedral remains one of my greatest memories of the pilgrimage.
By now we were less than 200 miles from our destination and stopped at Astorga to visit its Cathedral and Bishop's palace. The Cathedral was a total mix-and-match mess but the palace is extraordinary. It is one of only three buildings that Gaudi designed outside of Barcelona and has the outside appearance of a fairy-tale castle with an inside that displays Gaudi's genius for shapes and arches that look as if they should not be able to stand.
By now we were really hitting the Camino and there were regular sightings of the true pilgrims walking along the road. After another day's travel and Mass in a tiny 9th century church set among mountains shrouded in mist, we were in sight of our goal.
As the feast of St James (25 July) fell on a Sunday this year, which makes it a special 'Holy Year' for Santiago, I expected it to be busy. When we arrived, we were told that the King and Queen were to be there for Saturday evening and Sunday, so for 'busy' read 'insane'. It did mean that is was a very exciting time to be there. The place was crowded and packed with bands playing, folk dancers dancing and then there was a huge and spectacular firework display over the Cathedral to mark midnight and the start of the Saint's Day. I decided that discretion was the better part of valour the next morning and stayed in my air-conditioned hotel room to watch the Mass attended by the King on the telly.
I was very fortunate in that a distinguished early music group called "Organum" was in Santiago to sing for the Feast Day. I was able to attend their Lauds (morning prayer) in the Cathedral and also a concert reconstruction of a Pilgrim's Mass from the 12th century. The latter was particularly interesting and impressive as the choir roared out the mediaeval pilgrim's hymn to end the Mass, complete with early harmonies and droning basses.
The modern "Pilgrim's Hymn" is rather less thrilling, rather more sentimental and, alas, is sung in Spanish rather than Latin. But it does accompany the unique experience of Santiago: the swinging of the "Botafumeiro" at the end of the Pilgrim's Mass. This giant thurible (incense burner) hangs at the crossing between the nave and the transept and is the size of a small dustbin. Suspended on a single rope, it is first lowered to be filled with incense by the officiating bishop; then it is set gently swinging. As a group of men pull on ropes to lift it, the speed of its swing increases until it is soaring across the whole width of the cathedral, reaching almost up the roof. After my pampered and air-conditioned journey, I found this a stirring moment. I suspect that if you had been walking for six weeks and this was the climax of your pilgrimage, the experience would be overwhelming.
Thursday, December 29, 2005
Opera Highlights of 2005
My opera-going close to home has been very limited this year due to Opera North going into recess during the refurbishment of the Leeds Grand Theatre and the crushing of Scottish Opera by the Scottish Executive ('opera is not a Scottish art form').
I have been very fortunate, however, to be able to catch a lot of opera on my travels. These included my first visit to the Vienna Staatsoper and to the Canadian Opera Company as well as return visits to opera in New York, Munich and Amsterdam.
Here then are my nominations for the best (and worst) of what I saw in 2005. Some of the categories were very clear (Villazon in both his nominations and Pappano in his). Others were more difficult: did Simon Keenlyside's Billy Budd edge out John Tomlinson (Claggart and Wanderer) and Marcelo Alvarez (Riccardo and De Grieux); Did Renee Fleming beat Ceclia Bartoli (in "Il Turco in Italia")?
At the end of the day I limited myself to one nomination in each category. And here they are!
Best performance overall: “Billy Budd” (ENO)
Worst performance overall: “Il Viaggio a Rheims” (NYCO)
Best Production: Caurier and Leisner “Il Turco in Italia” (ROH)
Worst Production: Doris Doerrie “Rigoletto” (Bayerische Staatsoper)
Female Singer: Renee Fleming (Desdemona – ROH; Manon – Met)
Male Singer: Simon Keenlyside (Billy Budd – ENO)
Conductor: Antonio Pappano (“Otello”, “Siegfried” – ROH)
Female newcomer Hasmik Papian (Norma – Netherlands Opera)
Male newcomer: Rolando Villazon (Romeo – Vienna Staatsoper)
New entrant to the Heavenly Choir: James King
Complete recording: “Tristan und Isolde” (Domingo, Stemme, Pappano)
Recital CD: French Arias (Villazon)
Non-opera highlight: St Petersburg Philharmonic: Stravinsky’s “The Rite of Spring” (The Sage Gateshead).
I have been very fortunate, however, to be able to catch a lot of opera on my travels. These included my first visit to the Vienna Staatsoper and to the Canadian Opera Company as well as return visits to opera in New York, Munich and Amsterdam.
Here then are my nominations for the best (and worst) of what I saw in 2005. Some of the categories were very clear (Villazon in both his nominations and Pappano in his). Others were more difficult: did Simon Keenlyside's Billy Budd edge out John Tomlinson (Claggart and Wanderer) and Marcelo Alvarez (Riccardo and De Grieux); Did Renee Fleming beat Ceclia Bartoli (in "Il Turco in Italia")?
At the end of the day I limited myself to one nomination in each category. And here they are!
Best performance overall: “Billy Budd” (ENO)
Worst performance overall: “Il Viaggio a Rheims” (NYCO)
Best Production: Caurier and Leisner “Il Turco in Italia” (ROH)
Worst Production: Doris Doerrie “Rigoletto” (Bayerische Staatsoper)
Female Singer: Renee Fleming (Desdemona – ROH; Manon – Met)
Male Singer: Simon Keenlyside (Billy Budd – ENO)
Conductor: Antonio Pappano (“Otello”, “Siegfried” – ROH)
Female newcomer Hasmik Papian (Norma – Netherlands Opera)
Male newcomer: Rolando Villazon (Romeo – Vienna Staatsoper)
New entrant to the Heavenly Choir: James King
Complete recording: “Tristan und Isolde” (Domingo, Stemme, Pappano)
Recital CD: French Arias (Villazon)
Non-opera highlight: St Petersburg Philharmonic: Stravinsky’s “The Rite of Spring” (The Sage Gateshead).
Monday, December 26, 2005
"Sylvia" on Christmas Day Television
I thought this was a marvellous showcase for the Royal Ballet - and at a prime time slot on Christmas Day.
Both the ballet itself and the production looked splendid on the small screen. Indeed I think I enjoyed this more than when I saw the production at the ROH last season.
All the dancers were excellent. The bravura (rather than subtle) leading roles suited Busell and Bolle perfectly. Indeed he was the epitome of the handsome hunk, and what about those leaps! Not to mention those shoulders! And those legs!
Thiago Soares gave another memorable dramatic performance as Orion. I am looking forward to seeing him in a ballet in which he is not the 'baddy'.
I really enjoyed Bussell's commentary and introductions and the backstage shots brought the whole thing excellently to life.
A marvelllous afternoon's viewing and an excellent advert for the Royal Ballet.
Both the ballet itself and the production looked splendid on the small screen. Indeed I think I enjoyed this more than when I saw the production at the ROH last season.
All the dancers were excellent. The bravura (rather than subtle) leading roles suited Busell and Bolle perfectly. Indeed he was the epitome of the handsome hunk, and what about those leaps! Not to mention those shoulders! And those legs!
Thiago Soares gave another memorable dramatic performance as Orion. I am looking forward to seeing him in a ballet in which he is not the 'baddy'.
I really enjoyed Bussell's commentary and introductions and the backstage shots brought the whole thing excellently to life.
A marvelllous afternoon's viewing and an excellent advert for the Royal Ballet.
Sunday, December 25, 2005
The Three Masses of Christmas
A unique feature of the Christmas liturgy is the pattern of three Masses for Christmas Day (at midnight, at dawn and during the day) each with its own scripture readings and ‘proper’ texts.
The oldest Mass is the Mass during the day, which originated in Rome in the early fourth century. This Mass seems to mark the origins of the celebration of the Feast of Christmas.
The Mass at midnight is a slight misnomer: the Roman Missal only provides a Mass 'in nocte' not 'media nocte'. The Gospel implies that the birth of Jesus took place during the night but the time is never specified as midnight. The midnight tradition seems to follow a figurative interpretation of a passage from the Book of Wisdom [18, 14-15]: 'While all things were in quiet silence and the night was in the midst of her course thy almighty word, O Lord, came down from Heaven from thy royal throne'.
Celebration of the Night Mass originated in the fifth century. The Day Mass was then celebrated at St Peter's and the Night Mass in the Basilica of St Mary Major to which relics of the crib were brought in the seventh century.
The Mass at dawn was the latest of the three to appear, being celebrated first in the sixth century. This originated with a request from the Byzantine Governor in Rome that a Mass in honour of St Anastasia should be celebrated on her day (what we now know as 25th December) and in the Church dedicated to her. This was then 'fitted in' at dawn (all of these Masses being then celebrated by the Pope). When Rome ceased to be part of the Byzantine Empire the tradition of the Dawn Mass remained but its text was altered into a second Mass of the Nativity. Prayers commemorating St Anastasia remain as part of the Dawn Mass even in the 1962 Missal.
The oldest Mass is the Mass during the day, which originated in Rome in the early fourth century. This Mass seems to mark the origins of the celebration of the Feast of Christmas.
The Mass at midnight is a slight misnomer: the Roman Missal only provides a Mass 'in nocte' not 'media nocte'. The Gospel implies that the birth of Jesus took place during the night but the time is never specified as midnight. The midnight tradition seems to follow a figurative interpretation of a passage from the Book of Wisdom [18, 14-15]: 'While all things were in quiet silence and the night was in the midst of her course thy almighty word, O Lord, came down from Heaven from thy royal throne'.
Celebration of the Night Mass originated in the fifth century. The Day Mass was then celebrated at St Peter's and the Night Mass in the Basilica of St Mary Major to which relics of the crib were brought in the seventh century.
The Mass at dawn was the latest of the three to appear, being celebrated first in the sixth century. This originated with a request from the Byzantine Governor in Rome that a Mass in honour of St Anastasia should be celebrated on her day (what we now know as 25th December) and in the Church dedicated to her. This was then 'fitted in' at dawn (all of these Masses being then celebrated by the Pope). When Rome ceased to be part of the Byzantine Empire the tradition of the Dawn Mass remained but its text was altered into a second Mass of the Nativity. Prayers commemorating St Anastasia remain as part of the Dawn Mass even in the 1962 Missal.
Friday, December 23, 2005
Sick of all this Bach
Radio 3's "Bach Christmas" has got to be one of the most tedious broadcasting misjudgements ever.
I cannot think of any composer who would benefit from having all his music played end-to-end for day after day and if there is such, Bach certainly isn't the one.
There was not even an "Opera on 3" slot on Saturday evening because JSB was such a dreary old fart he didn't write any!
I have been driven to listening to Classic FM.
I cannot think of any composer who would benefit from having all his music played end-to-end for day after day and if there is such, Bach certainly isn't the one.
There was not even an "Opera on 3" slot on Saturday evening because JSB was such a dreary old fart he didn't write any!
I have been driven to listening to Classic FM.
Rita Hunter
It is now nearly four years since the operatic world lost one of its great characters with the untimely death of Rita Hunter. Rita Hunter was a very large lady with a voice and personality to match.
I first saw Rita as Leonora in Verdi's "Il Trovatore" at the Theatre Royal Newcastle in 1971 or 72 and was overwhelmed by the size of her voice and her control of it. Then I discovered her in Wagner.
To me she still is Bruennhilde, the central female character in the Ring cycle, because it was through her and Reginald Goodall that I first really got to know the Ring. I can still vividly remember a performance of "Twilight of the Gods" at English National Opera in 1977 during which she just poured glorious sound into the theatre. I have never heard power singing to better it.
Someone who never heard her asked me to describe what made Rita a 'major' singer. I could name three things.
Firstly, the sheer size of the voice. She could fill a big theatre like the London Coliseum with no trouble at all, and by fill I really mean fill, not just be audible. In smaller theatres such as the Theatre Royal the size of her voice was overwhelming.
Secondly the roundness and warmth of the voice. Even when singing the heaviest parts she never lost the focus of her voice or her roundness of tone. Other super-power sopranos I have heard (Birgit Nilsson, Gwyneth Jones) had something of a cutting edge to the voice that projected it across the orchestra. Rita's voice rode the orchestra without that edge.
Thirdly her attack on high notes. She could hit exposed and difficult high notes without (as some do) approaching them from below or (as others do) hitting them in a slightly timid fashion and then either tuning them in or then opening the voice out. With Rita it was - bang - and you were there, no messing.
Rita's greatest performance on CD is as Bruennhilde in Wagner's "Twilight of the Gods" conducted by Goodall. Another excellent recording is last year's Opera Rara issue of what was originally a BBC recording of Verdi's original "Macbeth".
A recording for which I have a personal soft spot and would recommend to anyone is a live recording of the wonderful recital she gave at Wyndhams Theatre in 1977. This was a very special occasion, at which I was actaully present. No Wagner, but some operatic favourites (including Butterfly and Mimi) were interspersed with Ivor Novello, Haydn Wood and Oscar Strauss. The whole thing is quite charming. You will not find this CD in the shops but it is available on the internet via http://members.iinet.net.au/~tallpoppies/
I first saw Rita as Leonora in Verdi's "Il Trovatore" at the Theatre Royal Newcastle in 1971 or 72 and was overwhelmed by the size of her voice and her control of it. Then I discovered her in Wagner.
To me she still is Bruennhilde, the central female character in the Ring cycle, because it was through her and Reginald Goodall that I first really got to know the Ring. I can still vividly remember a performance of "Twilight of the Gods" at English National Opera in 1977 during which she just poured glorious sound into the theatre. I have never heard power singing to better it.
Someone who never heard her asked me to describe what made Rita a 'major' singer. I could name three things.
Firstly, the sheer size of the voice. She could fill a big theatre like the London Coliseum with no trouble at all, and by fill I really mean fill, not just be audible. In smaller theatres such as the Theatre Royal the size of her voice was overwhelming.
Secondly the roundness and warmth of the voice. Even when singing the heaviest parts she never lost the focus of her voice or her roundness of tone. Other super-power sopranos I have heard (Birgit Nilsson, Gwyneth Jones) had something of a cutting edge to the voice that projected it across the orchestra. Rita's voice rode the orchestra without that edge.
Thirdly her attack on high notes. She could hit exposed and difficult high notes without (as some do) approaching them from below or (as others do) hitting them in a slightly timid fashion and then either tuning them in or then opening the voice out. With Rita it was - bang - and you were there, no messing.
Rita's greatest performance on CD is as Bruennhilde in Wagner's "Twilight of the Gods" conducted by Goodall. Another excellent recording is last year's Opera Rara issue of what was originally a BBC recording of Verdi's original "Macbeth".
A recording for which I have a personal soft spot and would recommend to anyone is a live recording of the wonderful recital she gave at Wyndhams Theatre in 1977. This was a very special occasion, at which I was actaully present. No Wagner, but some operatic favourites (including Butterfly and Mimi) were interspersed with Ivor Novello, Haydn Wood and Oscar Strauss. The whole thing is quite charming. You will not find this CD in the shops but it is available on the internet via http://members.iinet.net.au/~tallpoppies/
Saturday, December 17, 2005
CDs of the Year 2005
This year’s CD releases have been dominated by one opera set: the new recording of Wagner’s "Tristan und Isolde" conducted by Antonio Pappano and with Placido Domingo as Tristan.
A new recording of a major Wagner opera is always a bit of an event but this has a lot to make it special. Firstly it is announced as the last studio opera recording from a major recording company; secondly it is the chance for Domingo to record a major role which he has never sung on stage; thirdly it is a performance of a standard to hold its own with any already in the catalogue.
I am not generally a big Domingo fan but this is a stupendous performance, sung with a firmness of voice that is near miraculous for a man in his mid-sixties. His German diction (which has let him down in the past) is much improved and his insight into the anguish of the third act is irresistible.
He is well matched by the Isolde of Nina Stemme and the eloquent King Mark of Rene Pape. A studio recording allows such luxury casting as Rolando Villazon as the Young Sailor and Ian Bostridge as the Shepherd.
Pappano’s conducting is as fascinating as I would have expected. After a very slow prelude (he takes longer than Goodall!) the music surges forward as passions rise. The Covent Garden orchestra play as if they are the best opera orchestra around – which I think they probably are.
The other opera recording of significance which has come my way this year is the new recording of Britten’s "Death in Venice", which won the opera recording of the year award from Gramophone magazine. Britten’s last opera, and some (not I) would say his greatest, this is given a vivid and committed performance by a cast led by Philip Langridge, Alan Opie and Michael Chance and conducted by Richard Hickox. I find this is a an opera particularly well-suited to CD. On stage the constant changes of scene can be fussy and distracting and I have never seen a performance of the dance scenes that convinced.
Away from opera, something rather special comes with a recording of Eugene Ysaye’s solo violin sonatas. Ysaye was a noted violin virtuoso at the turn of the last century and he wrote his violin sonatas in the 1920s, dedicating each one to a leading violinist of his time. The violinist on this recording is Thomas Zehetmair, one of the most highly regarded virtuosi of our own time.
Why do I recommend this, you may ask?. Well firstly, it came top in the 'instrumental' section of the "Gramophone" awards. As importantly, Zehetmair is music director of the Northern Sinfonia and can be heard conducting and (even better) playing just over the river at the Sage, Tyneside's wonderful new concert hall. Finally it is a brilliant CD, the music clever, charming and thrilling and the violin playing is simply amazing.
A new recording of a major Wagner opera is always a bit of an event but this has a lot to make it special. Firstly it is announced as the last studio opera recording from a major recording company; secondly it is the chance for Domingo to record a major role which he has never sung on stage; thirdly it is a performance of a standard to hold its own with any already in the catalogue.
I am not generally a big Domingo fan but this is a stupendous performance, sung with a firmness of voice that is near miraculous for a man in his mid-sixties. His German diction (which has let him down in the past) is much improved and his insight into the anguish of the third act is irresistible.
He is well matched by the Isolde of Nina Stemme and the eloquent King Mark of Rene Pape. A studio recording allows such luxury casting as Rolando Villazon as the Young Sailor and Ian Bostridge as the Shepherd.
Pappano’s conducting is as fascinating as I would have expected. After a very slow prelude (he takes longer than Goodall!) the music surges forward as passions rise. The Covent Garden orchestra play as if they are the best opera orchestra around – which I think they probably are.
The other opera recording of significance which has come my way this year is the new recording of Britten’s "Death in Venice", which won the opera recording of the year award from Gramophone magazine. Britten’s last opera, and some (not I) would say his greatest, this is given a vivid and committed performance by a cast led by Philip Langridge, Alan Opie and Michael Chance and conducted by Richard Hickox. I find this is a an opera particularly well-suited to CD. On stage the constant changes of scene can be fussy and distracting and I have never seen a performance of the dance scenes that convinced.
Away from opera, something rather special comes with a recording of Eugene Ysaye’s solo violin sonatas. Ysaye was a noted violin virtuoso at the turn of the last century and he wrote his violin sonatas in the 1920s, dedicating each one to a leading violinist of his time. The violinist on this recording is Thomas Zehetmair, one of the most highly regarded virtuosi of our own time.
Why do I recommend this, you may ask?. Well firstly, it came top in the 'instrumental' section of the "Gramophone" awards. As importantly, Zehetmair is music director of the Northern Sinfonia and can be heard conducting and (even better) playing just over the river at the Sage, Tyneside's wonderful new concert hall. Finally it is a brilliant CD, the music clever, charming and thrilling and the violin playing is simply amazing.
ENO Billy Budd 10 December 2005
I was at this production on Saturday and thought it was a brilliant evening. I think that "Billy Budd" is Britten's operatic masterpiece and one of the greatest operas of the twentieth century.
The performance was dominated by a breath-taking performance by Simon Keenlyside in the title role. I must confess I had wondered if he could still carry the role in his mid-forties (I believe he is 46) but he triumphed. He still is in terrific shape and was not in the least embarrassed by spending half the evening with his shirt off. The physical energy and gymnastic ability of his performance was amazing yet he was also able to portray Billy's vulnerability. The scene before his execution was almost unbearably moving and sung with an intensity and beauty of tone. As he sang while doing his gymnastics, I was left wondering where on earth does he get his breath from? This was truly a great interpretation, difficult to imagine being bettered.
Also in super star territory was the Claggart of John Tomlinson. Almost unrecognisable without his beard and with white 'horror' makeup, he oozed evil and cruelty. His Act I encounters with Billy set the flesh creeping with his frustrated desire. The voice shows signs of wear and tear now but remains a mighty instrument.
Not quite in the same league was Timothy Robinson's Vere. Much of what he did was very good with some fine singing and (Deo Gratias) clear diction. But his acting was rather passive and he lacked the vocal weight for some of Vere's heavier moments, such as the outburst with Claggart in Act II.
The smaller parts were all very well taken with special mention for James Edwards as the novice (including some brilliant body make-up after the flogging) and a wonderful Dansker from Gwynne Howell.
Both chorus and orchestra were superb, as was Andrew Litton's conducting. On the evidence of this performance, it seems that ENO have made a bad mistake not signing him up as music director.
Neil Armfield's production was the only aspect of the performance about which I had any serious doubts. The scenery (Brian Thomson) is a large hydraulic lift and a number of stepped platforms that attach to it. There was nothing to suggest a sailing ship about it and having the chorus 'miming' pulling on ropes was really not acceptable. The scenery was kept in almost constant motion, even during some of the scenes. There were some misjudgments: Vere's cabin was set too high so it was difficult to see from the stalls what was actually going on. There were however some effective stage pictures and the anonymity of the set did allow the performers themselves to 'make' the drama.
All in all, this was a thrilling evening, with a performance of true greatness from Keenlyside.
The performance was dominated by a breath-taking performance by Simon Keenlyside in the title role. I must confess I had wondered if he could still carry the role in his mid-forties (I believe he is 46) but he triumphed. He still is in terrific shape and was not in the least embarrassed by spending half the evening with his shirt off. The physical energy and gymnastic ability of his performance was amazing yet he was also able to portray Billy's vulnerability. The scene before his execution was almost unbearably moving and sung with an intensity and beauty of tone. As he sang while doing his gymnastics, I was left wondering where on earth does he get his breath from? This was truly a great interpretation, difficult to imagine being bettered.
Also in super star territory was the Claggart of John Tomlinson. Almost unrecognisable without his beard and with white 'horror' makeup, he oozed evil and cruelty. His Act I encounters with Billy set the flesh creeping with his frustrated desire. The voice shows signs of wear and tear now but remains a mighty instrument.
Not quite in the same league was Timothy Robinson's Vere. Much of what he did was very good with some fine singing and (Deo Gratias) clear diction. But his acting was rather passive and he lacked the vocal weight for some of Vere's heavier moments, such as the outburst with Claggart in Act II.
The smaller parts were all very well taken with special mention for James Edwards as the novice (including some brilliant body make-up after the flogging) and a wonderful Dansker from Gwynne Howell.
Both chorus and orchestra were superb, as was Andrew Litton's conducting. On the evidence of this performance, it seems that ENO have made a bad mistake not signing him up as music director.
Neil Armfield's production was the only aspect of the performance about which I had any serious doubts. The scenery (Brian Thomson) is a large hydraulic lift and a number of stepped platforms that attach to it. There was nothing to suggest a sailing ship about it and having the chorus 'miming' pulling on ropes was really not acceptable. The scenery was kept in almost constant motion, even during some of the scenes. There were some misjudgments: Vere's cabin was set too high so it was difficult to see from the stalls what was actually going on. There were however some effective stage pictures and the anonymity of the set did allow the performers themselves to 'make' the drama.
All in all, this was a thrilling evening, with a performance of true greatness from Keenlyside.
