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."
There seemed to me to be something distinctly Chaucerian about Martin Lloyd-Evans’ new production of Mascagni’s Isabeau (the first UK production of the opera) for Investec Opera Holland Park.
It’s not just the medieval milieu recreated by takis’ set - high majestic towers, low townhouses with windows that will be sealed tight when Isabeau rides through the streets, twisting stairwells and alleyways - or the heraldic colour and chivalry.
It’s the way that Lloyd-Evans seems to mimic the blending and subversion of genres that Chaucer achieved in narratives such as the Franklin’s Tale in which the quasi-magical romance of the Breton lay form, with its characteristic courtesies and courtly love, is countered with real, painful human passions which defy classification and custom. (Readers seeking a resumé of genesis and plot might like to turn to my interview last month with David Butt Philip , who sings the role of Folco in this production.)
Some of takis’ symbolism has a pre-Raphaelite preciousness about it - the silver falcon sculpted by Benedict Romain and manoeuvred by three ‘angels’ which symbolises the transcending freedom bestowed by Folco’s love; the juxtaposition of glossy crimson, emerald and purple robes with Isabeau’s Christ-like white purity; floral and decorative iconography; Isabeau’s Rapunzel-like red-tresses (a languorous Elizabeth Siddal as painted by Edward Burne-Jones came to mind) - but that’s not unreasonable given the archaisms and allusiveness of Luigi Illica’s libretto.
Sometimes the manoeuvring of the set by the Opera Holland Park Chorus feels rather cumbersome and effortful, as they rotate cottages, slide walls and spiral staircases. And, at the start of the opening night performance, when the round exterior of the drum tower refused to budge and King Raimondo remained concealed within it was unfortunately reminiscent of the malfunctioning of the wobbly sets of 1970s sitcoms. It was also regrettable that when the knights arrive seeking to win the princess’s hand - Ubaldo of Edinburgh, Arundel of Westerne, Ethelberto di Argile, Randolfo of Dublin - Illica’s faux archaic nomenclature raised a chuckle. Despite their resplendent armour and pompous righteousness, Isabeau was clearly not impressed by her Arthurian suitors’ deeds of high honour and derring-do.
Anne Sophie Duprels as Isabeau with the Angels and members of the Opera Holland Park Chorus. Photo credit: Robert Workman.
But, the wide stage area is engagingly filled and populated, and there are some effective moments of dramatic pageantry, such as the lauded arrival of the Outlaw Knight, the King’s nephew Ethel, who lifts his shield aloft to claim his bride. And, the naked horse-ride itself is thoughtful staged and paced, with the musical and dramatic tempo increasing breathtakingly when Folco brazenly admires the humiliated Isabeau, and climaxing in the desperate assertion with is her sole utterance in the second Act, ‘Folco!’ Most especially, the duet which dominates the final Act is tremendously powerful, as both the promise of love and the threat of death escalate to fever pitch.
David Philip Butt (Folco). Photo credit: Robert Workman.
When I asked David Butt Philip if Isabeau’s neglect was due to the difficulty of casting two singers who could surmount the demands - sustained high tessitura, stamina - of the two lead roles, the tenor modestly demurred that the while the opera was challenging, Mascagni’s dramatic design helps the singers to pace themselves. Nevertheless, the roles of both Folco and Isabeau sounded pretty taxing to me, and Investec Opera Holland Park were lucky to have two singers who tackled them so boldly and with such persuasive and stirring accomplishment.
Butt Philip conveyed every ounce of Folco’s youthful optimism, passion and directness; the merry woodsman had the openness and spontaneity of a Papageno in Act 1, while Folco’s consuming joy as he showered the naked rider with flowers and sang ecstatic paeans to her beauty, with match his floral tribute, was palpable. When, in the Act 3 duet, he accused Isabeau of hiding her true passion behind a false guilt, Butt Philip’s vocal and physical acting was superb. Throughout he displayed impressive muscular power to match the strength of Folco’s honest feeling.
Anne Sophie Duprels (Isabeau). Photo credit: Robert Workman.
Anne Sophie Duprels is fast becoming not so much a princess but a queen of Investec Opera Holland Park, after her acclaimed performances in Mascagni’s in 2016 Iris and last year’s production of Leoncavallo’s Zazà . Duprels’ Isabeau was elevated and chaste - she seemed to share Mélisande’s disconcerting blend of ethereal, fairy-tale other-worldliness and tangible physical sensuality. Vocally, she switched from heavenly to highly charged - and from lyricism and declamation - in an instant. Her voice shone lustrously but there were also rapturous pianissimos - one sustained stratospheric whisper towards the close seemed to suspend time - and there was variety of both colour and dynamics. A truly regal performance.
Photo credit:George von Bergen (Cornelius) and (Mikhail Svetlov) as King Raimondo Robert Workman.
The minor characters do not really have sufficiently interesting dramatic or musical involvement to make them anything more than two-dimensional, but all of the cast worked hard to create impact and presence. I felt that Lloyd-Evans didn’t make enough of the King’s Councillor Cornelius’ Machiavellian dastardliness, but George von Bergen brought some vocal darkness to the role. Mikhail Svetlov, who impressed as Il Cieco in Iris, rather lacked grading and shading as King Raimondo but was appropriately stentorian as the cruel patriarch.
Fiona Kimm was terrific as Giglietta, her plump, rich tone and urgent projection conveying real love for her grandson and heart-warming courage in pleading for his life. Isabeau’s maids were performed by Nadine Benjamin (Ermyntrude) and Joanne Marie Skillett (Ermyngarde), and their voices blended beautifully with the harp as they showed consoling love for their humiliated mistress in Act 3. The stage was busily populated with extras such as six heralding on-stage trumpeters (who rather overpowered the ‘real’ herald - Thomas Humphreys’ L’araldo maggiore) and the aforementioned three angels who by the close seemed to have become a trio of Grim Reapers.
Fiona Kimm as Giglietta. Photo credit: Robert Workman.
Conductor Francesco Cilluffo relished every rhythmic and harmonic intricacy and surprise, and summoned passionate playing from the City of London Sinfonia, showing the same sort of authority that enabled him to guide Wexford Festival Opera’s 2015 Guglielmo Ratcliff with such accomplishment and drive. The Intermezzo, a ‘Hymn to the Sun’, before the fateful ride gleamed with ardour.
When Isabeau was premiered, under Mascagni’s baton and with Maria Farneti and Antonio Saludas in the leading roles, in June 1911 at the Teatro Coliseo in Buenos Aires, each Act received an ovation, and after productions (again with the composer at the helm) at La Scala and La Fenice the following year the opera remained in the repertoire, in Italy at least, as a star vehicle for tenors such as Bernardo De Muro and Giulio Crimi, with Maria Farneti, Gilda Dalla Rizza and Rosetta Pampanini, among others achieving success in the title role. It subsequently slipped under the radar, and we owe Investec Opera Holland Park gratitude and admiration for having given us a chance to experience an opera which may be dramaturgically unsatisfying, but which has plenty of vocal charisma and dramatic panache to compensate.
William Ashbrook may have, along with others who have viewed the opera as second-rate verismo cliché, condemned the opera as ‘trite bombast’, but on this occasion there was plenty of musical finesse and mesmeric fire.
Performances of Isabeau continue on 18, 20, 26 and 28 July.
Claire Seymour
Mascagni: Isabeau (UK premiere)
Isabeau - Anne Sophie Dupreis, Folco - David Butt Philip, King Raimondo - Mikhail Svetlov, Cornelius - George von Bergen, Ermyntrude - Nadine Benjamin, Ermyngarde - Joanne Marie Skillett, Giglietta - Fiona Kimm, Il cavalier Faidit - Oliver Brignall, L’araldo maggiore - Thomas Humphreys; Director - Matrtin Lloyd-Evans, Conductor - Francesco Cillufo, Designer -takis, Lighting Designer - Robbie Butler, City of London Sinfonia, Chorus of Opera Holland Park.
Investec Opera Holland Park, London; Saturday 14th July 2018.