Tag Archives: Katie Mitchell

2017, my musical year in review

31 Dec

2017 reviewThe last time I wrote a blog post, Donald Trump had just become President of the USA, which pretty much prefigured the chaos and confusion of the last twelve months. But being on the door step of a possible nuclear obliteration is a good time to look back to all the joyful artistic experiences that made it from bearable to outright gorgeous.  Since I lazily put together a short list of favourites from the last twelve months in response to Fiona Maddocks’ review, thought I’d publish them here with a few additions. In many ways it has been a remarkable year and have been very lucky to have been to so many stimulating performances.

The programming of the Royal Opera left quite a lot to be desired for half of the year which brought down the number of performances attended considerably. Also managed to be at Semiramide on the night that Joyce DiDonato was unwell, which made it a rather staid evening. Sadly with the crazy prices I didn’t manage to see it another time. 

Also promised myself not to darken the doorstep on ENO until the utterly useless leadership steps down, I’m getting my wish next year so will be keeping an eye their way and hopefully see them make progress and who knows maybe one day they will manage to perform a bit more frequently as the current status quo is a long term road to oblivion.

The smaller companies made quite an impact, Welsh National Opera was programming a lot of crowd-pleasers aside to more esoteric repertoire showing David Pountney’s capability in keeping a company in the black but also making sure it offers something for the neophyte but also adventure to the seasoned punter.

Scottish Opera seem to be out of the woods artistically after a couple of challenging years. The two performances I attended were absolutely gripping, the appointment of Stuart Stratford is clearly making a difference. 

Grange Park semi-built a new opera house in the enchanted surroundings of a 17th century manor house, even if the dreadful Joanna Lumley was needed to cajole more money for their new toilets. Based on the description by Wasfi Kani I’m expecting a miniature Roman Coliseum with urinals.

Over at Glyndebourne I managed to compress my three customary visits to a long weekend but was rewarded by some exceptional performances that even made me ignore the absolutely pointless staging of Ariadne auf Naxos that despite prior announcements, not many changes happened and we ended up with the most glorious singing in the service of a production that is both obvious and totally missing the dramatic arc of Strauss’ masterpiece.

Holland Park Opera put another strong season with very well cast younger singers making their stage bubble with enthusiasm. 

•Le Grand Macabre with the LSO and Rattle in January was a fantastic way to blow away the cobwebs with Simon Rattle conducting a blistering account of this demanding score with a London Symphony Orchestra rewarding him with pinpoint accuracy and crystalline clarity. 

Bryan Hymel’s blistering Turiddu and Canio on the opening night of Cavalleria Rusticana and Pagliacci at Covent Garden. When I saw him two weeks later he was even better!

•Elīna Garanča‘s very intense and in many ways against the grain Santuzza was a revelation in Cavalleria Rusticana who added much needed nuance to this fantastic production.

Lisette Oropesa’s turn as Lucia bettered what can be done with Katie Mitchell’s production bringing clarity and vocal prowess. Her Lucia was young, but deep, and as far removed from pointless vocal pyrotechnics and “identikit madness” acting as possible. 

The spectacular young cast including Natalya Romaniw, Jason Bridges and Nicholas Lester for Welsh National Opera’s Onegin was a joy, bringing back that most important ingredient of Tchaikovsky’s immense achievement, youth, to the foreground. 

Lise Davidsen’s dark hued Ariadne at Glyndebourne was definitely a confirmation of great promise and an unforgettable evening. Her magical performance made us forget about the truly pointless production which deserves to be shelved without trace. 

The unbrittled orientalism with a side of contemporary criticism for Cavalli’s Hipermestra at Glyndebourne made the unfamiliar accessible and gave a great vehicle for with many young singers, including Emőke Baráth, Benjamin Hulett, Anthony Gregory and David Webb making their mark.

The luxurious Magda of Elizabeth Llewellyn at Opera Holland Park’s La Rondine was balm for the soul on a warm summer’s evening. A tremendous singer that gives insightful readings of roles wrapped up with her sparkling personality.  

The brutal Jenůfa at Grange Park was a great achievement, a true psychological thriller from start to finish. The intensity of Natalya Romaniw and the set chewing vim of Susan Bullock made this a true highlight of the year.

Another Holland Park triumph for the great singing actress Anne Sophie Duprels in Zazà. She is truly the house diva and she delivers in spades every time. Have never walked away from one of her shows less than shaken. Make sure you catch her when she returns in Mascagni’s Isabeau

Brett Dean’s Hamlet at Glyndebourne was blessed with an amazing cast including Allan Clayton, Sarah Connolly and Barbara Hannigan. I was not quite as enamoured with the ridiculous writing for the Counter-tenors but the overall effect was one of a major new work that would benefit from some small revisions to make it dramatically even tighter.

•Joyce DiDonato’s intimate concert at the Wigmore Hall with the Brentano Quartet was a suitably magical end to the year. A programme that included Strauss and Debussy was crowned by Jake Heggie’s song cycle based on the life story of sculptor Camille Claudel written for her in 2012. It was musical communication of the highest order, every breath mattered and it added meaning to every word. Have a listen to the two encores I recorded on the night to have an idea of the level of engagement and togetherness of audience and performer. 


Thanks for reading and I will wish you all a tremendous year ahead, even if we have to make even more concerted effort to make it so.


Medieval Noir / Written on Skin / Royal Opera House – 11 March 2013

14 Mar

Written on SkinBy now you must have all heard the noises by the critics and any other blogging source about Written on Skin. Having watched the cinema broadcast from Aix-en-Provence last July. I was well primed for the live performance and I have to admit I was annoyed by a totally different aspect than the cinema experience.

The work is based on a 12th century Occitan legend telling a story of the Protector commissioning an illustrated manuscript to memorialise his magnificence and wealth. The illustrator (the Boy) is involved in a sexual relationship with the bright, repressed and illiterate Agnès, the wife of his client. The opera explores that journey of self discovery through sexual liberation. Add a sprinkling of angels and her sister and you have the makings of a medieval themed noir film.

George Benjamin’s music is clothed in transparent veils full of subtlety and in many ways a little bit too polite. Like many composers of his generation the shadow of Benjamin Britten still looms large. He doesn’t go for the all out confrontation with the audience’s ears as so many of his contemporaries. This soft and friendly sound must be part of the work’s success and spread across Europe over 2012 and 2013. It won’t scare anyone with its avant-gardist indulgence. Within its politeness it miraculously manages to deliver 95 minutes of gripping drama.  His vocal writing fluctuates from a pedestrian parlando style for the Protector and the Angels to the much more ornamented lines for Agnès and the Boy. Especially their love making duet in Scene Two builds sexual tension with a raw visceral power. Just don’t ask me what the homoerotic attraction between the Protector and the Boy was all about.

Katie Michell’s direction seemed terribly stiff and hell-bent on adding modish touches to the piece. The many close ups of the cinema broadcast amplified this stylistic mishmash. Live it does work much better with the split level boxed set creating a suitably claustrophobic setting for this domestic drama. There is an irritating insistence on slo mo pacing by the actors in the lab/archive section of the set. In a couple of instances it adds a filmic texture but it wears very thin by overuse. As long as the presentation does not remind you of a mashup of the Medieval and High Tech zones of the Crystal Maze you are in a good place. One decision that appears dictated by the starchy libretto was the singers in scenes being physically manipulated and moved by the two angels. It just seems genuinely awkward and an unimaginative way to show a heavenly intervention . Also having the singers announcing their entrances and the profuse mentions in the third person are irritating and create gaps in the storytelling that appear capricious and anti-theatrical.

The stellar performances by the cast and orchestra elevated the evening to a memorable occasion. Barbara Hannigan, Christopher Purves (save for a couple of rough times in two short sotto voce passages) and Bejun Mehta gave their all with smooth vocal delivery and total immersion in their characters. The tension between sex and violence pents up to the inevitable conclusion when the powerful Protector, after losing his control to jealousy, killing the Boy and serving his heart to his unfaithful wife. Instead of being melodramatic, the atmosphere is dark and agitated. But of course the main question for me was how relevant the piece is to the 21st century audience. Dressing the angels in lab coats and putting them in a sterile set does not make for innovation or modernity, the final result has a rather dusty feel.

The achievement of the work and its overall musical beauty is undeniable but colour me unimpressed overall by the moddish staging, the stunted libretto with its profusion of personal pronouns. Benjamin does write a great vocal line but somehow I was left wondering what impact a much more flowing libretto or an altogether more recent source would have had. Trying to bridge the gap of 9 centuries makes for an unconvincing offering that can only stand if we abstract the story away from its specifics to relate to our universal experiences. Of course I am not asking for ludicrous set ups like Judith Weir’s kebab van ladden Miss Fortune but still waiting for the day when a contemporary composer will not seek refuge in the comfort of the past and create something new and about our own times. Metaphors and allusions are useful and stimulating but this avoidance to engage with contemporaneous subjects makes a lot of contemporary opera seem as old as the 19th century standard rep.

Curtain call video from a jaunty angle!

Written on Skin list

George Benjamin: Written on Skin / Aix-en-Provence Festival – Live relay at Ciné Lumière – 14 July 2012

17 Jul

There has been a lot of commenting and high hopes for  George Benjamin’s new opera (co-produced by Festival d’Aix-en-Provence with the Nederlandse Opera, the Royal Opera House Covent Garden, the Théâtre du Capitole de Toulouse, the Teatro del Maggio Musicale Fiorentino) and I was compelled to pop into the Institut Français to check out the live broadcast from Aix.

The story is based on a medieval Occitan legend from the 12th century. It encompasses the arrival of a manuscript illuminator and how the domestic balance gets upturned via amorous approaches and finally murder. Structured in three parts, it lasts around 100 minutes without interval.

The cast have taken on a mammoth challenge, especially Barbara Hannigan who has the very physical and vocally demanding role of Agnès.  She is matched by Christopher Purves’ macho presence and rock solid singing. Bejun Mehta’s presence and singing did not excite me as much . The work has a series of duets amongst the three main protagonists which become the central spine of the dramatic development. The all pervading darkness in both subject matter, interpretation and musical language may put off some people, but it is ultimately a very challenging, accomplished piece of work. The writing is very singer friendly and there are some stunning final tutti where the soloist and the orchestra become one. Part of the excitement of the piece is the sheer physical nature of the singing required and the amount of committed acting. The directing by Katie Mitchell may not be to everyone’s taste, as the ambiguities of flashbacks and past/present interrelationships become too frequently blurred, and also requiring a lot of awkward on stage costume swaps.  The boy may be the pivotal character, but Hannigan is the centre of attention, with her fragile appearance she seems to live in this world of feudal power and intense, internalised passion that looks for an outlet. Her frequent outbursts are powerful and affecting.

The three central characters are ushered/attended by Marie and John who take on a role of the peripheral action that adds more depth/detail and help with the scene transitions. Sang with great gusto by Rebecca Jo Loeb and  Allan Clayton.

Overall it is an intense, dystopian world full of anxieties and co-dependencies. An intriguing mix of the medieval and the contemporary. Potentially some of the most darkly sexy opera this side of Lulu. Do go and see it at any of the touring venues or watch the archived stream on Medici.tv  (annoyingly not available in the UK). I will most definitely book for it’s Royal Opera staging on 8 | 11 | 16 | 18 | 22 Mar 2013.

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