Tag Archives: Simon Rattle

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

The noisy way to please

8 Mar

070320111028 070320111029

070320111030 070320111027

Programme:
MESSIAEN Et exspecto resurrectionem mortuorum
BRUCKNER Symphony No 9

Sir Simon Rattle conductor
London Symphony Orchestra

It has been years since I’ve seen Simon Rattle live and a year ago bought a couple of tickets for tonight’s concert at the Barbican. It was the perfect opportunity to avoid the noise and promo madness of his residency with Berlin Phil and to see him again with the wonderful LSO. Of course a major positive was the lack of Mahler from this programme, he just bores me witless (have promised myself to have another go at the old man when I turn 50…in 17 years, ‘nough said!).

The Messiaen was a bold bit of programming and a touch of Rattle’s genuine love for contemporary music that has been his calling card for over thirty years. This particular piece was tough loving for the audience, but in my view a very good way to start the evening. Having the woodwinds, brass and percussion of the orchestra blaze through his undulating angular forms was a joy. Rattle managed to find beauty in the unconventional rhythms the composer provided him with and the players of the orchestra responded with panache and precision. The crescendos in parts 3 and 4 where verging on the deafening from the second row of the stalls that we were sitting! But it was almost an aural cleansing preparing us for the wondrous  architectural greatness of the Bruckner.

It was quite funny watching members of the orchestra shielding their ears during those loud, exclamatory percussion laden concluding segments. And despite any technical hair-splitting, which I’m the least qualified to do, ( I tend to  judge live performances on the strength of the visceral impression they make) I can say one thing about the Messiaen, it surely gave me goose bumps as the last movement was reaching its climax. It was powerful and some of his spatial/sound effects where brilliant and in a way reminded one that the composer’s main occupation as a church organist. Now if we could grab the LSO and drag them into an ancient cathedral the sights and smells of the place would surely enhance the mesmerising effect.


I came in after the interval fearing that Rattle would go for overtly slow tempi (which it seems to becoming a bit of a problem for him lately) and make the Symphony drag unnecessarily. I shouldn’t have done, my partner actually mentioned how lively Rattle was at the podium and indeed his timings were brisk. In the first movement his emphasis on the individual phrases was impressive, the very good acoustic of the Barbican really helped him to sculpt the sound around quiet melodies and the silence in between incidents. His approach may not have been in the same line of enquiry as Bruno Walter or John Barbirolli who emphasised the overall structure of the Symphony. Rattle added his personal touches to it that made it an emotionally charged testament by a conductor that feels at ease with the material and at home with the Orchestra.

For me the star of the show was the second movement. Where Rattle brought out the dance aspect of the music, his treatment of the trio was bringing up memories of Stravinsky’s ballet music, it was fun and powerful but at the same time very elegant (the luscious string playing was magical) . It was a surprise for me and an interesting contribution in the middle of a very grand orchestral edifice (the piece, after all requires a 107 member orchestra!) . Rattle allowed the formality of the piece to come though but at the same time little charming incidents throughout were given space to develop and transport the listener.

When people ask why is Rattle a special conductor it’s a night like this they have to experience. The playing he extracted from The LSO may not have been totally faultless but it was arresting and with a humane, beating heart in its middle. It’s what great music should do, it should be perfect escapism but at the same time excite the spirit and the senses.

And of course dear reader you can make your mind by listening to the broadcast on BBC Radio 3, on at 7pm, 14 March, here’s the link: http://www.bbc.co.uk/programmes/b00zdfj6

%d bloggers like this: