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.
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 …).
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.
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.
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.
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.
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.
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.
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’.
'Such is your divine Disposation that both you excellently understand, and royally entertaine the Exercise of Musicke.’
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.
‘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.’
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.
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.
‘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 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’.
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.
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.
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’.
"Before the ending of the day, creator of all things, we pray that, with your accustomed mercy, you may watch over us."
Opera Holland Park's 2017 season opened on 1 June 2017 with Martin Lloyd-Evans's new production of Puccini's La Rondine, designed by takis, with lighting by Mark Howland and choreography by Steve Elias. Elizabeth Llewellyn was Magda with Matteo Lippi as Ruggero, Tereza Gevorgyan as Lisette, Stephen Aviss as Prunier and David Stephenson as Rambaldo, Matthew Kofi Waldren conducted the City of London Sinfonia.
The two operas with which Puccini followed Madama Butterfly
(1904), La fanciulla del West (1910) and La rondine
(1917) are the two operas where Puccini used to be seen as not being
completely on form, before he returned with his final operasIl Trittico and Turandot. ThoughLa fanciulla del West has been somewhat rehabilitated, La rondine still somewhat languishes and can be seen as combining
pleasant melodies with plot which is a bad re-hash of La Traviata
and Die Fledermaus. But the period after Madama Butterfly
saw Puccini trying to extend and develop his art both thematically and
harmonically, for instance La fanciulla del West uses an advanced
harmonic language and a daring lack of free-standing aria, and the triptych
form of Il trittico was highly innovative.
So La rondine can be seen in this light, as an experiment in the
other direction, trying something lighter. Originally intended as an
operetta, Puccini dropped the idea of spoken dialogue (though other Italian
contemporaries would try operetta), but La rondine remains lighter
in style with greater use of popular dance rhythms. And the plot can be
seen as re-visiting La boheme; it helps to make sense of the
dramaturgy if you think of Magda and Prunier as Musetta and Rodolfo (from La boheme) some years later, and Magda's fond memories of
Bullier's in Act One a reminiscence of Cafe Momus. We heard Puccini's
original version of the opera (the one usually done), though Ruggero's Act
One solo was included from Puccini's final revision.
Martin Lloyd-Evan's production set the piece loosely in the 1950s which meant
that Chez Bullier became the sort of smoky French cafe/bar familiar from
films, whilst the hotel on the Riviera in Act Three had certainly seen
better days. Costumes were stylish, and I was impressed that the outline
and high-waistlines of the men's suits were correctly in period. I can
understand that Magda's Act One costume was intended to make her stand out,
but its rather acid yellow colour was anything but flattering.
Elizabeth Llewellyn as Magda and Matteo Lippi as Ruggero, with the Opera Holland Park Chorus. Photo credit: Robert Workman.
Act One is very much an ensemble piece with Magda (Elizabeth Llewellyn)
being surrounded by Prunier (Stephen Aviss), Rambaldo (David Stephenson)
and the guests (Henry Grant Kerswell, Timothy Langston, Alistair
Sutherland, Pia Harris, Alice Privett, Sophie Dicks), and much of Puccini's
writing is in the same ensemble conversation style which he used in the
opening of La fanciulla del West; it is a style which can be
tricky to bring off on the large open stage at Opera Holland Park and the
act took some time to settle. What really counted was the dramatic
interaction between the performers, so that though Puccini and his
librettists give us very little background, Lloyd-Evans and his cast established
a real atmosphere between Magda and Rambaldo.
The transition to Act Two was done almost instantaneously with the cast
dramatically ripping off the decor for Act One. Chez Bullier really
showcased the excellent Opera Holland Park Chorus (chorus master Nicholas
Jenkins) and this provided the lively backdrop for the developing
relationship between Llewellyn's Magda and Matteo Lippi's Ruggero,
counterpointed by the lively bickering of Aviss's Prunier and Gevorgyan's
Lisette. The use of the original version of the opera means that the third
act ultimately concentrates on Magda and Ruggero (no trio of vendeuses, no
scene for Rambaldo), and Lloyd-Evans's production made the most of this.
Elizabeth Llewellyn as Magda and Matteo Lippi as Ruggero. Photo credit: Robert Workman.
Elizabeth Llewellyn's Magda took some time to develop. In Act One she was
very much part of the ensemble with only the verse of 'Chi il bel sogno di
Doretta' to show off. This was done with great character making it part of
the drama rather than milking it as a big solo. In Act Two it is the
relationship with Ruggero (Matteo Lippi) which counted and the two made a
real connection, soaring in the love duet. It was this connection which
made Act Three blossom, Llewellyn and Lippi soared again in the final duet,
and if the ending is not quite as heart-rending as some Puccini's ones,
Llewellyn showed how to make it count with sheer beauty of line and a
glorious sheen to the voice. This certainly showed how having a real spinto
soprano in the role can count.
Matteo Lippi (who sang Pinkerton with Glyndebourne in 2016) made a
delightfully sympathetic Ruggero, emphasising the character's small-town
naivety, this was really brought over in his delightful Act One solo.
Throughout Lippi sang with a lovely rich, bronzed sound which also helped
imbue Ruggero with sympathy. He and Llewellyn made a wonderfully balanced
pairing, with Lippi including just the right combination of bravura solo
and supportive partnering, matching Llewellyn in beauty of tone.
Tereza Gevorgyan made a delightful, hyperactive Lisette, singing Puccini's
coloratura-style line with both style and accuracy, plus a sense of wit.
Stephen Aviss made a robust, characterful Prunier providing a necessary
contrast in tenorial style from Lippi, and providing his own piano
accompaniment in 'Chi il bel sogno di Doretta'. But it was the way Aviss
and Gevorgyan developed a really sparky relationship, carrying us through
all three acts, which formed a nice complement to the two leading
characters.
David Stephenson made a nicely sympathetic Rambaldo, whilst Henry Grant
Kerswell, Timothy Langston, Alistair Sutherland, Pia Harris, Alice Privett,
and Sophie Dicks provided strong and characterful support, and Alys Roberts
gave us the delightful solo at the end of Act Two.
Matthew Kofi Waldren kept the ensemble scenes in the first two acts moving
with vivid impetus, encouraging the orchestra to provide characterful,
full-blooded drama which complemented the stage though occasionally I would
have liked vibrancy to give way to something more relaxed. But in the
duets, Waldren showed that he could balance things, allowing the singers to
shape Puccini's melodies. This wasn't the most luxuriant account of the
score, but the playing of the City of London Sinfonia brought out the
vibrant colours and details of Puccini's writing.
There are seven more performances of La Rondine and I suspect that
the performance, particularly the opening act, will bed down nicely and
develop. But it is in the superb partnership of Elizabeth Llewellyn and
Matteo Lippi that the strength of this production lies.
Puccini: La Rondine
Opera Holland Park, 1 June 2017
Magda: Elizabeth Llewellyn, Ruggero: Matteo Lippi, Lisette: Tereza Gevorgyan, Prunier: Stephen Aviss, Rambaldo: David Stephenson, Henry Grant Kerswell, Timothy Langston, Alistair Sutherland, Pia Harris, Alice Privett, Sophie Dicks
Director: Martin Lloyd-Evans, conductor: Matthew Kofi Waldren
City of London Sinfonia