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."
The capital’s music conservatoires frequently present not only some of the best opera in London, but also some of the most interesting, and unusual, as the postgraduate students begin to build their careers by venturing across diverse operatic ground.
This autumn, though, ‘canonic’ composers have dominated the programming. The Royal Academy offered us Olivia Fuchs’ sharply observed Semele for the smart-phone age. And, now, following the Guildhall School of Music and Drama’s presentation of Così fan tutte, the Royal College of Music have similarly elected to test themselves in Mozartian waters with this charming production of The Marriage of Figaro.
In the GSMD’s Così, director Oliver Platt eschewed rococo elegance for rowdier revelry, taking us to a 1950’s hot-spot, Alfonso’s Bar , located near a US naval base in the South Pacific. Sir Thomas Allen plumps for tradition and his designer, Lottie Higlett, transforms the RCM’s Britten Theatre into Count Almaviva’s eighteenth-century chateau, taking us on a tour which starts in the tiny, dilapidated garret where Figaro and Susanna will begin married life, continues in the spacious elegance of the Countess’s boudoir, and finishes amid the graceful trellises of the garden - skilfully arranged to allow for sleight of hand and eye, as the nocturnal intriguers carry out their machinations and reconciliations bathed in designer Rory Beaton’s beautiful moonlight glow.
Both sets and costumes are superb. And, by cleverly opening up the depth of the stage when we leave the shabby attic - with its single bed (will there be room for a double, Figaro ponders?), thread-bare chair and rather forlorn mannequin upon which Susanna’s wedding veil perches expectantly - and enter the stately sumptuousness of the Countess’s bedroom, Higlett emphasises the class tensions and injustices which propel the drama. The colour schemes are beguiling, with Susanna’s simple sky-blue dress set against the rose-gold luxuries of the aristocracy. And, the cast wear their frock-coats and fineries with confidence and style; they’ve clearly worked very hard at the particulars of characterisation and the production has been meticulously rehearsed.
I struggle, however, to say anything of import or interest about Sir Thomas Allen’s direction - other than that he has evidently exercised what must be described as a ‘light touch’. Nothing wrong with that, of course - indeed, we often have cause to lament directorial dabbling and conceptual muddling. But, it’s a credit to the singers’ alertness and rapport that, especially in Acts 3 and 4, the drama was so engaging, for they seemed to have been largely left to their own devices. Allen’s only ‘intervention’, as far as I could see, is the introduction of several ‘babes-in-arms’ - or, in the case of the Countess, a babe-in-a-crib which is whipped away by a nursemaid (is that why she’s ‘off-limits’ for the Count at this time, leading to his extra-marital forays?). Among the chorus who serenade the Countess and celebrate the weddings, there are several young girls whose arms are encumbered by a swaddled child: a reminder of the welcome responsibilities of married life, or a warning perhaps that romance ends with wedlock? Certainly, the risks of indulging one’s passions are evident, as Marcellina palpitates on the bed during ‘La vendetta’ - Bartolo’s wish for revenge firing her own desire for Figaro - and the Countess almost expires from an overdose of sensual craving aroused by Cherubino’s serenading.
During the performance there was much excellent singing to admire, but I had misgivings as proceedings got underway as conductor Michael Rosewell (Director of Opera at the RCM Opera Studio) seemed determined to make a dramatic impact at the expense of idiomatic style. The overture was fast and unremittingly loud, but where was the elegance and wit of phrasing, the grace of line, the carefully delineated contrasts of colour and timbre? Accents were hammered home and the relentless tempo and temperature adversely affected the ensemble and intonation. There was little sense that the structure of the overture might articulate its own, and the opera’s, drama; impact was favoured over inference. Fortunately, though the pit was very ‘present’ throughout the performance, things settled down, the woodwind and horn tuning improved, and there was some pleasing playing as the evening progressed.
Adam Maxey has a handsome baritone, a relaxed manner, and - being of imposing height - a strong stage presence, but he needed to use greater variety of colour and dynamic to define Figaro’s character and his response to the unfolding drama more precisely. As Susanna, Julieth Lozano stole the show. Her soprano has a juicy middle range and there were flashes of real brightness at the top; she controlled the vocal line as skilfully as she commanded events. Indeed, this was not a Susanna to be messed with, as Conall O’Neill’s disconcerted Antonio discovered when she ripped his potted geranium to shreds when he frustrated her plans and wishes. But, Susanna’s charm was equally apparent and ‘Deh vieni, non tardar’ was beautifully sung.
I first enjoyed Sarah-Jane Brandon’s singing in 2010 when she performed with Mark Morris’s Dance Group in Handel’s L’Allegro, il Penseroso ed il Moderato at the London Coliseum, and since then she’s been a frequent and rewarding presence on London’s concert and opera stages. She seemed out of sorts, though, in ‘Porgi, amor’ which, while controlled and firm of tone, lacked Brandon’s usual sensitivity of phrasing and colour. That she was unwell was confirmed when the cause for the extended interval was revealed by an announcement that Brandon would be replaced in Acts 3 and 4 by Josephine Goddard (the Countess in the alternative cast). Goddard demonstrated impressive variety of tone and the poignancy of ‘Dove sono’ was enhanced by some lovely pianissimo nuances.
Harry Thatcher was a convincing Count, complex, angry, frustrated and repentant. He was no fool, but he was outwitted, and his growing irritation and confusion was skilfully delineated by Thatcher in Act 3, culminating in a fiery but stylish ‘Vedro mentr’io sospiro’. This was a thoughtful characterisation, one which encouraged us to both condemn and understand, and ‘Contessa perdano’ was touching. Thatcher’s elegant bearing and urbanity were tempered with genuine human feeling, and we were inclined to forgive this Count for his frailties.
Lauren Joyanne Morris has a full, rich mezzo but she didn’t entirely persuade me in the role of Cherubino. A little too tall to be gamine, Morris did not seem to have determined precisely how to convey the page’s adolescent yearning - perhaps a little more direction would have helped. She sang strongly, but I’d have preferred a lighter approach, particularly in ‘Non so più’ which needs to sound both youthfully innocent and slightly breathless with a passion barely understood. Poppy Shotts was excellent as Barbarina, and her Act 4 aria ‘L’ho perduta, me meschina’ was confident and poised.
The comic trio entered into the Christmas-panto spirit, though the young singers inevitably found it a challenge to really convince as aged intriguers. Katy Thomson defined Marcellina strongly, though occasionally over-did the Hyacinth Bucket caricature. Timothy Edlin was terrific as Bartolo, relishing ‘La vendetta’ - and he was more dramatically persuasive when he removed his tricorn hat and we could see Bartolo’s bald pate and stringy curls. Joel Williams, as Basilio, completed the fine cast.
This was a long but enjoyable performance. The cast worked incredibly hard, to good effect, and the drama grew in charm and shine as the evening progressed. Tradition proved a real treat.
Claire Seymour
Mozart: The Marriage of Figaro
Count Almaviva - Harry Thatcher, Countess Rosina - Sarah-Jane Brandon/Josephine Goddard, Susanna - Julieth Lozano, Figaro - Adam Maxey, Cherubino - Lauren Joyanne Morris, Marcellina - Katy Thomson, Bartolo - Timothy Edlin, Basilio - Joel Williams, Don Curzio - Samuel Jenkins, Barbarina - Poppy Shotts, Antonio - Conall O’Neill, Bridesmaid 1/Chorus - Camilla Harris, Bridesmaid 2/Chorus - Jessica Cale; Director - Sir Thomas Allen, Conductor - Michael Rosewell, Designer - Lottie Higlett, Lighting Designer - Rory Beaton, Choreographer - Kate Flatt, Chorus and Orchestra of the Royal College of Music Opera Studio.
The Britten Theatre, Royal College of Music, London; Monday 26th November 2018.