Tag Archives: OHP

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.

 

Advertisements

2015, my operatic year

31 Dec

2015 reviewDear readers…I have been a bad boy this year and my blogging was rather infrequent. Mind you, if you follow me on any social media you probably have heard more from me than you’d like to…but thanks for persevering.

2015 has been an unremarkable year for opera in Britain, mainly due to companies feeling the squeeze on budgets which for most meant a retreat to standard rep and taking few chances. The much derided Royal Opera diet of Traviatas, Bohèmes and Toscas has become a joke that keeps on giving over the last three seasons. Thankfully smaller companies have emerged as the places to find more challenging material and more imaginative interpretations. The largest cloud cast has been again the pitiful state of Scottish Opera and the continuing upheaval at English National Opera. The year’s major highlights were provided by Glyndebourne, Opera Holland Park and Welsh National Opera.

The ups

Glyndebourne + On Tour / Saul
Barry Kosky’s exuberant production displayed a sure hand in blending the drama of Handel’s music a bleak dark grey stage and mountains of props. Never wavering from the emotional heart of the piece he put unremitting focus on the acting and how the high emotions were projected to the auditorium. It was impressive to listen, a sleek spectacle and an imaginative retelling that left no doubt in my head that he just gets it. A great moment for Glyndebourne and a production to be remembered for a very long time.

OHP / Flight
Holland Park did Jonathan Dove proud for staging his cheeky little opera in a straight but not boring way. It was not the hottest ticket of their season, but the young cast brought tones of brio to this tightly woven tale of human relationships.

SO / Inés de Castro
Scottish Opera brought out the baroque aesthetic of the work in a very simple staging by Olivia Fuchs that afforded ample opportunities to show off the singers. Stephanie Corley was a force to be reckoned with as Inés. Just wish SO spent more time sorting its administrative and financial side and championing more Scottish composers and their output. This was a gory triumph.

ENO / The Indian Queen
Peter Sellars is the proverbial mad man of the operatic village. This production of this work by Purcell was exhausting to watch but the sheer maximalism of the additions to the score and text made it one of those memorable failures that one tries to unpick in their memory months later. It was baffling and extraordinary, sublime and odd. Lucy Crowe in glowing voice under the baton of Laurence Cummings was superb. And was allowed mercifully the stage to herself to show everyone how it is possible to fill the expanse of the Coliseum with her voice that fills one’s heart with content.

Birmingham Opera / The Ice Break
My third opera excursion to Birmingham and another unqualified success. Tippett is criminally neglected these days and this production set in an airport resonated with the migrant crisis unfolding across Europe and has worsened since this productions saw the light of day. It crackled with energy and presented opera making as collaborative activity. Requiring active involvement by the cast, community chorus and all of us watching.

ENO / Queen of Spades
David Alden’s production had a lot of holes in the narrative continuity but it was worth the price of admission for the extraordinary conducting by Ed Gardner and the magisterial, otherworldly Countess  of Felicity Palmer. Who still has incredible reserves of voice and a stage presence to obliterate anyone else. Pure magic at work. 

OHP / Il Trittico
Holland Park was very ambitious to present Puccini’s triptych and it was a spectacular success. Most memorable the shattering interpretation of Suor Angelica by Anne Sophie Duprels who distilled the dramatic potential to unbearable intensity. Incredible to think this was her debut of the role…hope she gets to sing it many more times.

Glyndebourne / Poliuto
The return of Michael Fabiano to Glyndebourne with this infrequently performed tenor vehicle. He was eminently watchable and sang with great clarity and passion. The conducting of Enrique Mazzola brought restless energy to Donizetti’s score and softened the blow of a rather pedestrian production by Mariame Clément. 

Blackheath Opera / Idomeneo
A bracing community opera that brought the work to its basics. It had all the fizz the recent Covent Garden outing lacked. Kirstin Sharpin was spectacular in her description of the turmoil of Elettra, white hot intensity at its very best. 

SWP / Arcangelo: Lacrimae with Anna Prohaska
Not strictly an opera performance but worth mentioning for the sheer delicacy and charisma of Prohaska. Myriads of colours engulfed us. Her Purcell arias were particularly impressive each one a small acted drama. She is definitely one of the most compelling musicians working today. 

Wigmore Hall / Anna Caterina Antonacci + Donald Sulzen / La voix humaine
A sublime afternoon and if strictly speaking it was a concert. Antonacci is a dab hand in breathing life into the damaged woman of Poulenc’s work. Every word mattered, every gesture, every look. We have to be thankful that Radio 3 relayed it live so we have for posterity a document of this great artist at work. 

WNO / I Puritani
Welsh National Opera has been a great company to follow for all lovers of bel canto. After presenting Donizetti’s three queens last year they offered a rather beautifully stark production by Annilese Miskimmon of Bellini’s masterpiece. Carlo Rizzi conducted with true flair and Rosa Feola’s Elvira was a stunning stage creation. Balancing this figment of the gothic imagination perfectly. She displayed great taste and all the coloratura became a descriptive part of the heroine’s disturbed mind and mood changes. Bringing to Bellini’s score the depth of insight it deserves. Not a performance for the canary fanciers of old, but a romantic personage of true richness. 

ENO / The Force of Destiny
The production by  Calixto Bieito was probably too subdued for some, but made excellent use of the limited stage resources of ENO and endowed us with a stunning debut of the year, Tamara Wilson. Her opulent Leonora was stunning. A big voice with a warm enveloping sound and enough agility to overcome Verdi’s many hurdles. 

ROH / Andrea Chénier 
Was disappointing in the production value stakes. A dull “period” production by McVicar was cumbersome but at least it didn’t ruffle many feathers. But it remains memorable for the truly brilliant singing of Jonas Kaufmann this was probably the first time I enjoyed his singing so much. Up to now I was one of the doubters finding his sound not Italianate enough but he was exceptional as Chenier and was ably supported by Željko Lučić and Eva-Maria Westbroek. Tony Pappano’s conducting was too episodic and frankly lumpy to make sense of the whole instead giving us disconnected arias making the evening feel unusually long.  

ROH / The Rise and Fall of the City of Mahagonny
That was one production that was roundly unloved by the press but was definitely sleek and particularly its integration of projections was very accomplished. And let’s be frank any production that gives me the chance to see Anne Sofie von Otter on stage is worth seeing no matter what. Above all Weill is worth a resurgence Mahagonny is so much more than just the famous tunes. 

ROH / Madama Butterfly
Everyone was predicting doom (aka a cancellation by our diva), as I was scheduled to attend the final performance of the run with Kristīne Opolais. This was the performance that totally changed my mind about her. She sang with such great warmth and attention never wavering on her interpretation of Cio Cio San portraying her naivety in a subtle way that we could all empathise. This was the opposite of the maudlin mess that this opera can be, it was a glorious evocation of a broken life. Simply superb. 

ROH / Król Roger
And when we thought we’d never see a good production by Kasper Holten at Covent Garden, this production happened. Very rarely has set gigantism been deployed to such remarkably subtle effect. The spectacular performance by Mariusz Kwiecień was the corner stone of this sophisticated production. 

ROH / La Bohème
My main reason for bothering to book for that rusty old Copley production was Anna Netrebko and Jennifer Rowley. Thank heavens they were both superb the former a surprisingly subtle Mimi and the latter an all out sass pot as Musetta. The same can’t be said for our Rodolfo who bleated his way through the part in his usual unattractive manner.   

The downs

ENO / Pirates of Penzance
It was rather stodgy for my taste even if it was not short on spectacle. The humour somehow didn’t work for me. A shame as it was my first G&S work. 

SWP / Farinelli and the King
This amalgam of stage play and recital wrapped up in one was unsatisfying in both counts. Iestyn Davies was wonderful as usual filling the Wannamaker Playhouse with his lustrous voice. The play itself was totally innocuous. At no point cared very much for the King and his mental instability. 

ENO / Between Worlds
A confusing mangle of many good ideas topped with a counter tenor shaman figure presiding. Making an opera about the attack on the Twin Towers was always going to be a polarising enterprise and the resulting piece was sensitive and at times touching. If it had stayed naturalistic it could have been an altogether more welcome addition to 2015. But it felt overworked and overstretched, no amounts of commitment by its music staff could redeem it into a satisfying well balanced piece. 

 

 

%d bloggers like this: