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.
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.
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.
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.’
‘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.’
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."
The doors at The Metropolitan Opera will not open to live audiences until 2021 at the earliest, and the likelihood of normal operatic life resuming in cities around the world looks but a distant dream at present. But, while we may not be invited from our homes into the opera house for some time yet, with its free daily screenings of past productions and its pay-per-view Met Stars Live in Concert series, the Met continues to bring opera into our homes.
Music-making at this year’s Grange Festival Opera may have fallen silent in June and July, but the country house and extensive grounds of The Grange provided an ideal setting for a weekend of twelve specially conceived ‘promenade’ performances encompassing music and dance.
There’s a “slide of harmony” and “all the bones leave your body at that moment and you collapse to the floor, it’s so extraordinary.”
“Music for a while, shall all your cares beguile.”
The hum of bees rising from myriad scented blooms; gentle strains of birdsong; the cheerful chatter of picnickers beside a still lake; decorous thwacks of leather on willow; song and music floating through the warm evening air.
Seattle Symphony’s “semi-staged” presentation of L’enfant et les sortilèges was my third encounter with Ravel’s 1925 one-act “opera.” It was incomparably the most theatrical, though the least elaborate by far.
With its feeble libretto by an uninspired Colette, the work survives entirely due to Ravel’s extraordinary score, which creates tension and drama through almost purely musical means. I suspect that a full “realization” of the mise-en-scène specified in the printed score is almost certain to detract from the work’s power. It certainly did in my former encounters with the piece.
The SSO’s presentation employed some projections on vestigial ropelike screens and a scrim, but the best thing about them was their unobtrusiveness. Every ounce of our attention was focused on the performers.
The singers in plain concert gear move with unaffected dignity among the instrumentalists in dazzlingly elaborate ivory papier-maché head-dresses, wittily suggesting their personae but leaving most of the characterization to the orchestra: the individual players were fleetingly but vividly illuminated by the spill from the singers’ follow-spots: it was enough to render them active presences Everyone of stage, from conductor to boys’ chorus, became equal participants in a common enterprise, supporting Ravel’s unexampled marvel of a score.
Conductor Ludovic Morlot came to Seattle in 2011 from Belgium’s la Monnaie; he departs again after next season, having fulfilled his mandate: to bring a capable but troubled ensemble to a new level of polish and professionalism, and to open the audience to a new kind of participation in the living orchestra repertory.
He is a fine all-round conductor; he is exceptional in his sensitivity for and dedication to 20th and 21st century French music. He will be sorely missed on the podium, but is too gifted to spend the bulk of his career with a provincial band, no matter how virtuosic. We have spent far too many years in Seattle with conductors essentially “retired in place,” to the severe detriment of imaginative music-making and orchestral morale.
Roger Downey
Cast and production information:
Michèle Losier: The Child; Delphine Haidan; (Mother, The Chinese Teacup, The Dragonfly); Rachele Gilmore: (The Fire,. The Princess, The Nightingale); Jean=Paul Fouchéfort: {The Black Wedgewood Teapot, The Little Old Man, The Frog); Allyson McHardy (The Female Cat, The Squirrel, A Shepherd); Soraya Mafi (A Shepherdess, The Bat, The Owl); Alexandre Duhamel (The Grandfather Clock, The Male Cat); Alexandre Sylvestre (The Armchair, A Tree); Northwest Boychoir (Bench, Sofa, Ottoman, Wicker Chair, Numbers); Seattle Symphony Chorale (Shepherds, Shepherdesses, Animals. Insects, Trees)
Anne Patterson, stage director & production designer; Adam Larsen, projection design; Zane Pihlstrom, head sculptures; Kina Park: associate to Ms. Patterson