09 Sep 2011
Les Troyens by La Fura dels Baus
When the opera opens, a chorus of Trojan is rejoicing that the Greeks have abandoned the war and gone home.
Recently in Reviews
ETO Autumn 2020 Season Announcement: Lyric Solitude
English Touring Opera are delighted to announce a season of lyric monodramas to tour nationally from October to December. The season features music for solo singer and piano by Argento, Britten, Tippett and Shostakovich with a bold and inventive approach to making opera during social distancing.
Love, always: Chanticleer, Live from London … via San Francisco
This tenth of ten Live from London concerts was in fact a recorded live performance from California. It was no less enjoyable for that, and it was also uplifting to learn that this wasn’t in fact the ‘last’ LfL event that we will be able to enjoy, courtesy of VOCES8 and their fellow vocal ensembles (more below …).
Dreams and delusions from Ian Bostridge and Imogen Cooper at Wigmore Hall
Ever since Wigmore Hall announced their superb series of autumn concerts, all streamed live and available free of charge, I’d been looking forward to this song recital by Ian Bostridge and Imogen Cooper.
Henry Purcell, Royal Welcome Songs for King Charles II Vol. III: The Sixteen/Harry Christophers
The Sixteen continues its exploration of Henry Purcell’s Welcome Songs for Charles II. As with Robert King’s pioneering Purcell series begun over thirty years ago for Hyperion, Harry Christophers is recording two Welcome Songs per disc.
Treasures of the English Renaissance: Stile Antico, Live from London
Although Stile Antico’s programme article for their Live from London recital introduced their selection from the many treasures of the English Renaissance in the context of the theological debates and upheavals of the Tudor and Elizabethan years, their performance was more evocative of private chamber music than of public liturgy.
Anima Rara: Ermonela Jaho
In February this year, Albanian soprano Ermonela Jaho made a highly lauded debut recital at Wigmore Hall - a concert which both celebrated Opera Rara’s 50th anniversary and honoured the career of the Italian soprano Rosina Storchio (1872-1945), the star of verismo who created the title roles in Leoncavallo’s La bohème and Zazà, Mascagni’s Lodoletta and Puccini’s Madama Butterfly.
A wonderful Wigmore Hall debut by Elizabeth Llewellyn
Evidently, face masks don’t stifle appreciative “Bravo!”s. And, reducing audience numbers doesn’t lower the volume of such acclamations. For, the audience at Wigmore Hall gave soprano Elizabeth Llewellyn and pianist Simon Lepper a greatly deserved warm reception and hearty response following this lunchtime recital of late-Romantic song.
Requiem pour les temps futurs: An AI requiem for a post-modern society
Collapsology. Or, perhaps we should use the French word ‘Collapsologie’ because this is a transdisciplinary idea pretty much advocated by a series of French theorists - and apparently, mostly French theorists. It in essence focuses on the imminent collapse of modern society and all its layers - a series of escalating crises on a global scale: environmental, economic, geopolitical, governmental; the list is extensive.
The Sixteen: Music for Reflection, live from Kings Place
For this week’s Live from London vocal recital we moved from the home of VOCES8, St Anne and St Agnes in the City of London, to Kings Place, where The Sixteen - who have been associate artists at the venue for some time - presented a programme of music and words bound together by the theme of ‘reflection’.
Iestyn Davies and Elizabeth Kenny explore Dowland's directness and darkness at Hatfield House
'Such is your divine Disposation that both you excellently understand, and royally entertaine the Exercise of Musicke.’
Ádám Fischer’s 1991 MahlerFest Kassel ‘Resurrection’ issued for the first time
Amongst an avalanche of new Mahler recordings appearing at the moment (Das Lied von der Erde seems to be the most favoured, with three) this 1991 Mahler Second from the 2nd Kassel MahlerFest is one of the more interesting releases.
Paradise Lost: Tête-à-Tête 2020
‘And there was war in heaven: Michael and his angels fought against the dragon; and the dragon fought and his angels, And prevailed not; neither was their place found any more in heaven … that old serpent … Satan, which deceiveth the whole world: he was cast out into the earth, and his angels were cast out with him.’
Max Lorenz: Tristan und Isolde, Hamburg 1949
If there is one myth, it seems believed by some people today, that probably needs shattering it is that post-war recordings or performances of Wagner operas were always of exceptional quality. This 1949 Hamburg Tristan und Isolde is one of those recordings - though quite who is to blame for its many problems takes quite some unearthing.
Joyce DiDonato: Met Stars Live in Concert
There was never any doubt that the fifth of the twelve Met Stars Live in Concert broadcasts was going to be a palpably intense and vivid event, as well as a musically stunning and theatrically enervating experience.
‘Where All Roses Go’: Apollo5, Live from London
‘Love’ was the theme for this Live from London performance by Apollo5. Given the complexity and diversity of that human emotion, and Apollo5’s reputation for versatility and diverse repertoire, ranging from Renaissance choral music to jazz, from contemporary classical works to popular song, it was no surprise that their programme spanned 500 years and several musical styles.
The Academy of St Martin in the Fields 're-connect'
The Academy of St Martin in the Fields have titled their autumn series of eight concerts - which are taking place at 5pm and 7.30pm on two Saturdays each month at their home venue in Trafalgar Square, and being filmed for streaming the following Thursday - ‘re:connect’.
Lucy Crowe and Allan Clayton join Sir Simon Rattle and the LSO at St Luke's
The London Symphony Orchestra opened their Autumn 2020 season with a homage to Oliver Knussen, who died at the age of 66 in July 2018. The programme traced a national musical lineage through the twentieth century, from Britten to Knussen, on to Mark-Anthony Turnage, and entwining the LSO and Rattle too.
Choral Dances: VOCES8, Live from London
With the Live from London digital vocal festival entering the second half of the series, the festival’s host, VOCES8, returned to their home at St Annes and St Agnes in the City of London to present a sequence of ‘Choral Dances’ - vocal music inspired by dance, embracing diverse genres from the Renaissance madrigal to swing jazz.
Royal Opera House Gala Concert
Just a few unison string wriggles from the opening of Mozart’s overture to Le nozze di Figaro are enough to make any opera-lover perch on the edge of their seat, in excited anticipation of the drama in music to come, so there could be no other curtain-raiser for this Gala Concert at the Royal Opera House, the latest instalment from ‘their House’ to ‘our houses’.
Fading: The Gesualdo Six at Live from London
"Before the ending of the day, creator of all things, we pray that, with your accustomed mercy, you may watch over us."
OPERA TODAY ARCHIVES »
Reviews
They are dressed as contestants in a hockey game—at the end of the second act we will learn, from Casssandra’s jersey, that they play for Team Troy.
This is startling. On closer inspection we see that the costumes also have elements of the clone warriors in Star Wars, and many other sorts of mechano-futuristic adventure-kitsch will appear later: the Trojan Horse is a kind of space capsule, made of steel planes that become whirling blades; when, in the first act pantomime, Hector’s little orphan puts an offering on his father’s tomb, it turns out to be a toy monster-truck. Later, in the Carthaginian acts, Dido and her court inhabit a space ship: four huge octagonal rings with a nose cone in back, and eight giant gray inflated cylinders protruding forward, creating an allusion to a hull. Dido has left Phoenicia to build a city, not in Africa, but in outer space.
Berlioz’s singers undergo a great many transports, and rapture, in this low-gravity environment, always means levitation. Cassandra and the other suicidal women rise out of the clutches of the Greek rapists; Dido and Aeneas rise into the air as the they sing their duet, at the end of which Mercury flies by in a satellite to urge Aeneas to leave Dido and fulfill his mission; Hylas, at the beginning of act 5, is not in the crow’s-nest of a ship but floating in a space suit, tethered to a satellite, with Greenland far below.
Carlus Padrissa, the stage director, has other technologies in his armamentarium. The cast often lug computer monitors with them: during the lovely act 4 septet, the monitors show treble clefs and other music-notation detritus, reinforcing the idea that this opera is, in fact, an opera. At the end of act 2, the rear projection displays a computer monitor sending alarming messages of system failure and virus alert. Indeed the production seems designed to be seen less in an opera house than on a computer screen: at the end of act 5, as Dido commits suicide, she stands on the nose cone (now outfitted as a kind of bed), upon which computer monitors are erected, showing the image of the Trojan Horse from act 1: Dido is dreaming of a new Trojan Horse to lay waste the second Troy that Aeneas will build in Italy. Objects continually threaten to flatten into digital images, in this extremely pixeled production.
I admire the way in which Padrissa attended to the strictly narrative and metaphorical aspects of the text: aspects that Berlioz left undramatized, Padrissa dramatized. When Cassandra sings of the vultures that will eat the Trojans’ bodies, the circumvolving smoke on the rear projects starts to turn into shadowy images of huge pecking birds. When Aeneas narrates the death of Laocoon, strangled by sea serpents, two gray cylinders (which will be part of the space ship in act 3) come to life and (with dancers strapped to the ends to represent mouths) start to devour Laocoon. The visual elements become a second orchestra, telling what Berlioz’s staging was (in Berlioz’s time) unable to show.
Musically, the production is beyond anyone’s dreams of excellence. Lance Ryan’s Aeneas is rhythmically careless in places, but outdoes Vickers in vehemence and (maybe) vocal power; Elisabete Matos’s Cassandra and Daniela Barcellona’s Dido are merely superb. Gergiev conducts with ardor, subtlety, and decisiveness. But: not many members of the cast can sing French vowels without discoloration.
Daniel Albright