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."
“Oh! I do like to be beside the seaside! I do like to be beside the sea!” And, it was off to the Victorian seaside that we went for Hampstead Garden Opera’s production of Handel’s Partenope - not so much for a stroll along the prom, rather for boisterous battles on the beach and skirmishes by the shore.
HGO describe Partenope as an ‘opera not so seria’ and it certainly spices seria conventions with gentle parody and self-parody. With history and heroism losing favour with the London public, Handel embarked on a period of experimentation that was to result in masterpieces such as Alcina and Ariodante, and Partenope - described by Handel scholar Winton Dean as an ‘anti-heroic’ opera - was a step in this direction. One of the first works to be produced by Handel’s newly re-organized company, it was premiered on 24th February 1730 at the King’s Theatre.
Given the long reign of the period’s era-defining monarch, HGO’s Victorian setting seems apt. After all, Partenope tells of a presumed episode in the history of the mythical founding Queen of Naples, a monarch who was just as determined as Queen Victoria - who proposed to her beloved Prince Albert on 15th October 1839 - to take matters of love and war into her hands. Pursued by three suitors - Arsace, Armindo and Emilio - Partenope wears the figurative pants, while Rosmira, abandoned by Arsace, literally dons the trousers, disguising herself as Eurimene in order to seek revenge and win back her fickle beloved.
In a sense, the Victorians didn’t just love to be beside the seaside, they invented it. A refuge from everyday routines, the pleasure piers offered new entertainments - acrobats, carousels, Punch & Judy, donkey rides - and the laced-up middle classes relished the chance to indulge in some unbuttoned fun. The stiff-upper-lipped Brits imbibed the sea air and cast off both their crinolines and their inhibitions in the bathing machines. Ladies could flirt with their parasols as they flaunted their new outfits along the promenade. The young chaps could peer through telescopes at women descending into the sea.
And so, during the overture, when Arsace and Rosmira arrived at sands glistening in the glare of the mid-day sun (lighting design by Daniel Carter-Brennan), Arsace was only too pleased to kick off his tight leather shoes, fling aside his tweeds and let his hair down in a game of beach volley-ball with a rumbustious gang liberated by their stripy bathing costumes. Meanwhile, Rosmira slipped out of her high-necked blouse and ankle-length skirt into the leggings and tunic she found conveniently hanging in a nearby changing booth, and assumed her gender-crossing disguise.
Rachael Cox (Rosmira) and Erik Kallo (Armindo). Photo credit: Laurent Compagnon.
In the event though, for all director Ashley Pearson’s interesting and earnest comments about the concordance between the preoccupations of Partenope and Victorian mores - the clash between ‘strong social morality and a desire to be free’ and between ‘public persona and private desire’ - the action of the opera playfully took its course without the Victorian setting contributing any significant impact or meaning. But, it served an dramatically efficient and visually appealing purpose. Laura Fontana’s set design had the virtues of economy and simplicity: blue and yellow striped bathing tents formed a jolly backdrop to the strip of strand upon which the action unfolded.
Romantic suitors played musical deckchairs as they strove to win Partenope’s heart. Battles with buckets and spades ensued. The azure sky remained cloud-free but the warring characters faced shadows and storms, until female common sense unravelled the romantic knots. The arias ofPartenope are generally briefer than conventional da capo marathons and the scuffles and shenanigans whipped along breezily. I did wonder, though, whether HGO’s decision to present the opera (the original 1730 version) in Italian with surtitles was the right one: given that we had travelled to one of the most English of environs, might not the vernacular have been apt? Particularly as English text would surely have carried clearly in the fairly small Jacksons Lane Theatre, without the need for the tiny surtitle screen perched aloft the orchestral balcony, upon which text was squashed in often miniscule script.
That said, the young cast - current students and alumni from the capital’s music conservatoires - delivered some idiomatic Italian and sang with a convincing grasp of Baroque style. Arsace is the chief object of gentle ridicule in Partenope, but Hamish McLaren’s strong and sweet-toned countertenor won some sympathy for the fickle waverer, communicating Arsace’s growing self-knowledge and genuine suffering in Act 2’s ‘Fatto è Amor un dio d’inferno’ and proffering a beautifully crafted plea for forgiveness in Act 3 (‘Ch’io parta?’).
Saran Suebsantiwongse. Photo credit: Laurent Compagnon.
As the object of the men’s affections, Kali Hardwick was a fiery and spirited Partenope. Her characterisation of the be-turbaned beach-queen was sustained and compelling: all sneering eye-brows and dangerously pointed parasols. Her soprano is clear and has a nice glint - though occasionally she pushed it a little hard at the top, and the edge hardened into shrillness. Hardwick has a lot of power at her disposal, but she didn’t always judge the acoustic and sometimes over-sang. Though the coloratura of her first aria wasn’t entirely crisp, her voice later relaxed, the precision improved; Partenope’s Act 2 aria ‘Qual farfalletta’ was especially moving.
Rachael Cox exhibited a lovely warm lower range as Rosmira/Eurimene and didn’t struggle at all with a role that dips down into the deep. She sang with a sure sense of line, musical and dramatic focus, and an overall poise that imbued the feisty revenger with an appealing integrity of spirit.
Erik Kallo’s Armindo was a snivelling cry-baby - the dupe on a comic picture postcard - whose shoulders hunched and drooped with self-pity. Fortunately, his countertenor had more backbone and colour than the character he impersonated! Kallo sang with confidence and accomplishment, as did tenor Peter Martin as Emilio - who comes to do battle with Partenope, and then finds himself enamoured and warring instead with the rival suitors. Martin has a pleasing, agile tenor; he executed the coloratura with aplomb, and alone among the cast had mastered a Baroque trill.
Saran Suebsantiwongse’s stuffed-shirt Ormonte couldn’t quite decide if he wanted to be in on the fun or was disapproving of it, and the baritone delivered his single aria persuasively. The choruses brought the cast together in vigorous ensembles: ‘Viva Partenope!’ was a persuasive choric salute.
Music director Bertie Baigent directed a 13-strong instrumental ensemble playing on period instruments and tuned at Baroque pitch. The French overture is one of stature, and there are several orchestral sinfonias which the young musicians performed with confidence once the tuning had settled down after a slightly ropey start. The long thin balcony above the stage isn’t the most accommodating space, and sometimes the separation of the obbligato woodwind (standing behind Baigent) from the body of strings did not aid ensemble and intonation, but there was plenty of colour and energy.
Despite its general good humour and humorousness, there are serious strains of satire and sexual tension in the opera which Pearson’s production didn’t really tap. But, HGO’s Partenope offers - as the Victorians would have appreciated - levity and laughter: a pleasurable ‘day-trip’ to the seaside.
Claire Seymour
Partenope - Kali Hardwick, Rosmira - Rachael Cox, Emilio - Peter Martin, Armindo - Erik Kallo, Ormonte - Saran Suebsantiwongse, Arsace - Hamish McLaren; Director - Ashley Pearson, Music Director - Bertie Baigent, Assistant Music Director and continuo - Richard Gowers, Designer - Laura Fontana, Lighting Designer - Daniel Carter-Brennan, Fights Director - Matthew Coulton.
Jacksons Lane Theatre, Highgate, London; Friday 17th May 2019.