Britten: Midsummer Night’s Dream. Opera North, Lowry Salford. 13/11/24

James Laing, Oberon; Daisy Brown, Tytania; Camilla Harris, Helena; Siân Griffiths, Hermia; Joel Williams, Lysander; James Newby, Demetrius; Henry Waddington, Bottom; Daniel Abelson, Puck; Nicholas Watts, Flute; Colin Judson, Snout; Dean Robinson, Quince; Andri Björn Róbertsson, Theseus; Molly Barker, Hippolyta.    Garry Walker, Conductor; Matthew Eberhardt, Revival Director; Johan Engels, Set Designer; Ashley Martin-Davis, Costume Designer; Bruno Poet, Lighting Designer

The ON production has had some very good reviews, from Artsdesk and others. This was the third production I’ve seen of this work.

The Glyndebourne production, visually glorious, also had in its visual presentation shades of darkness in between the trees and the sunlight and therefore more of a sense of some of the less pleasant and more unsettling aspects of the work – the changeling boy, the cruelty and malice of Theseus and the savagery of Puck. The setting of the Opera North is meant to be the mid-late 60s – if you like, psychedelic – and this is certainly reflected in the clothes the four lovers wear and to some extent that of the ‘mechanicals’ as well, but it is not present in the basic set design which is as in the photos below – various floaty bubbles above the stage, and all around the sides and back silvery Perspex drapes, each with bunched edges at regular intervals, both hanging and floor-standing. Strips of plastic also move up and down to create different perspectives. The lighting is constantly the same silvery blue throughout with a few rows of not very bright coloured lights for scenes like Theseus’ palace. Occasionally with the aid of lighting effects there are shadows cast upon the screen, very effectively showing the silhouettes of e.g. the fairies. But interestingly while lighting created a very effective otherness in the forest – a place of new self-knowledge and rebirth – it offered no sense of the darkness of this work, something also emphasised by making the changeling child into a puppet and having a Theseus who, though he had his moments, was a bit of a pussy cat really. The fairies – boys and girls – were costumed in identical white T-shirts, shorts and socks, black wings and blonde wigs, and looked cute as opposed to anything else. Only Puck was truly unsettling – constantly on the move, shaking and nodding his head, crawling across the stage, shouting, and sneering. The Glyndebourne production was more fully rounded in showing all dimensions of this work. Where the ON production excelled was in the handling of the 4 lovers and Bottom & co. The lovers were well differentiated and individualised – much more so than at Glyndebourne. The ‘mechanicals’ were genuinely amusing – a matter of good timing, some effective gags (the costumes for the play were very good and funny, for instance – eg the Wall). Their antics were much appreciated by the audience and overall this aspect was better done than at Glyndebourne

In terms of performers. the standout was Daisy Brown as Titania, who had a strong stage presence and a lovely voice – she floated a most gorgeous high note in her awakening solo. The four lovers were all strong singers, the most carefully differentiated of the group being the Hermia of Sian Griffiths. James Laing as Oberon was perhaps a little small of voice in this theatre and that added to a slight lack of impact in his performance, though that is to judge it at a very high level. The fairies were sometimes a bit hesitant of movement, though fine musically – I wondered if they recruit a different batch of singer fairies for each venue?  Gary Walker kept everything moving and encouraged bright characterful playing from the orchestra. Given that there was only one basic set I was somewhat mystified by the apparent need for two intervals – the Glyndebourne production with more complicated set changes managed with one (though admittedly an hour long).

The audience was quite a reasonable one – more so than for some of the other ON shows I have seen in the Lowry. But nothing in the audience size suggested there was a massive number of people out there waiting to go to ENO shows in Manchester. The ENO Friends are having a session on 3 December when they are talking about who their partners will be and how things will work with their new life in Manchester – it will be fascinating to hear their plans…….

Tim Horton, piano: Sheffield, St Marie’s Cathedral. 8/11/24

Mozart 12 Variations ‘Ah Vous Dirai-Je, Maman’ K265; Schoenberg Drei Klavierstücke Op.11; Haydn Piano Sonata In D Hob.Xvi:42; Brahms Drei Intermezzi Op.117; Beethoven Piano Sonata No.23 Op. 57 ‘Appassionata’

This was a interestingly planned recital aimed at demonstrating links between the 1st and 2nd Viennese Schools via Brahms. It also took in several examples of themes and variations – Mozart, Beethoven, and Haydn, possibly even Schoenberg. There were a few pleasant surprises for me. The early Mozart piece, based on the tune we know in the UK as ‘Twinkle, twinkle, Little Star’, pottered along pleasantly enough for most of its length, but then suddenly broadened out into a moving, memorable melody which took you straight into the world of much later Mozart. The second of the three Schoenberg pieces was extraordinarily expressive, and something I really want to hear again – one of his first atonal pieces, it nevertheless sounds like Brahms at times (without the tunes!). Similarly, the second and third of the Brahms Op 117 Intermezzi sound extraordinarily modern in this context, with strange, wayward harmonies and odd trajectories, akin to the Schoenberg. The Beethoven and Haydn both seem quirky too, neither of them conforming to standard sonata form expectations.

The very resonant acoustic of St Marie’s Cathedral, a late replacement for the Upper Chapel, made the Beethoven a bit clangourous and muddy in its fast passages, but was ideal for the Schoenberg, Brahms and Haydn. Tim Horton was the excellent pianist, maybe fluffing a few notes in the Beethoven, but nevertheless, as always, a pleasure to hear.

BBC Symphony Orchestra: Busoni. Barbican 1/11/24

Grazyna Bacewicz Symphony No 2; Ferrucio Busoni Piano Concerto. BBC Symphony Orchestra, Sakari Oramo conductor; Kirill Gerstein piano; BBC Symphony Chorus (lower voices)

This was a great treat – two works I have never heard live before and one which was completely new to me! The Busoni concerto I have listened to a few times (I have the old Ogdon recording from the 60’s) but I have missed all recent opportunities to hear it in the concert hall – I was going to hear Igor Levit at the RFH in April 2020 (which got cancelled for the obvious reasons) and I missed the performance at the Proms this year with Benjamin Grosvenor.

Grażyna Bacewicz (1909 –1969) was a Polish composer and violinist of Lithuanian origin “contributing in 1951 to the country’s revived musical life, as a concert violinist, conservatory professor, competition jury member and also a composer”, to quote the programme. The second symphony dates from 1951, and is in 4 movements lasting about 20minutes or so. The piece did sound as though it was coming from an original voice. Yes, parts of the faster music were vaguely reminiscent of the finale of Shostakovich’s 6th Symphony, and maybe there were elements of Walton and Stravinsky. But on the whole it was distinctive but, though it was all quite engaging and often exciting, what it amounted to I am not quite sure – it didn’t make much of an impact on me, I am afraid. The BBC SO played it brilliantly.

The Busoni is quite another matter – whatever you think of it, it’s a big beast with a very considerable reputation for technical difficulty and obscurity, which allows its infrequent performances to feel to be something special. The Barbican hall was pretty full but the balcony was closed off. I couldn’t help feeling that there could have been more coordination between the London orchestras on scheduling its performances –  it seems not the very best planning to have the LPO performing the work at the Proms in August and the BBCSO doing the same two and half months later (a bit like at least three of the major professional UK orchestras all kicking off their Autumn season this year with Mahler 1) and this might have led to a bigger audience last night (however it is the 100th anniversary of Busoni’s death so maybe it was unavoidable……..)

The Busoni concerto is in 5 movements – odd ones are slowish and serious, even ones quick and scherzo-like. The programme notes quote someone as saying it is more like a symphony with piano obbligato than a concerto, and this does make sense – the piano goes off often on its own track to comment and ruminate before being called back to order by the orchestra. Famously the 5th movement is a setting of words by Oehlenschläger from his play, Aladdin. Oehlenschläger, a few years younger than Wordsworth and Coleridge, was apparently Denmark’s pioneer Romantic poet and Aladdin was one of his youthful achievements, the ending of Aladdin praising the ‘power eternal’, the life force that runs through all things, both joyful and painful. The concerto does again have a very individual voice – maybe there are echoes of Mahler at times (in fact he was a champion of Busoni’s works) but there is no hint of the Brahmsian or Wagnerian influences you would expect from music of this period (1904) – maybe Liszt lurks somewhere at the back of this work (Busoni of course was a superstar pianist of his day). The work hardly hangs together in a narrative sense – there is no real connection between the different movements, though I suppose the longer 3rd movement is in its reflective way a precursor to the 5th – certainly there are no motivic connections I could make out.  But it is a riotous completely bonkers piece of music that I found was enthralling to hear live – the constant mad piano writing with thundering chords and whirring arpeggios , the orchestra in the second and fourth movements (the Tarantella 4th ends up sounding like a scampering Rossini crescendo) and actually – particularly in the third – there are some relatively memorable melodies to keep one’s interest going. I don’t think I once lost concentration, which I certainly did in the Bacewicz for a while – even though the Busoni piece must be almost four times as long. Gerstein played it magnificently, as far as I could tell and looked as though he was enjoying himself hugely. He and Oramo had agreed on some challenging speeds and the orchestra did very well indeed in producing a sparkling light touch to their playing, rhythmically precise. Just occasionally there were a few splodgy entries and one or two bits of dodgy intonation from the trumpets but nothing serious and understandable given that few of the players will have performed the work before. Altogether I was very impressed by the orchestra in the clinical and unforgiving acoustics of the Barbican – it is years and years since I heard them there. The men’s chorus did all they needed to very well (although the Barbican did not allow them to be invisible as per Busoni’s requirements in the score).

 I felt exhilarated at the end of this performance and as though I had really been through an experience – provisionally it might be one of my year’s top ten. The audience cheered and stood in enthusiasm…. Now on to Doktor Faustus…..

Halle Orchestra, Wong. Bruckner. Bridgewater Hall, 26/10/24

Kahchun Wong conductor, Bruckner Symphony No.9 – four movement version with fourth movement revised by Dr John A Phillips

This was an exciting occasion for me. I had grumbled in February that Nathalie Stutzman’s performance of the usual 3 movement Bruckner 9 with the LSO was not using one of the completed versions of the finale. And now I have had an opportunity to listen to one live, edited by the Australian Dr John A. Phillips, which received its first performance by the London Philharmonic Orchestra under Robin Ticciati in December 2022 and which was now being played by the Halle and their new principal conductor (they are also recording it – one to buy!). Dr Philips was also in Manchester for recording and performance and was part of a panel discussion beforehand with David Butcher, the Halle’s CEO.

The word ‘completion’ needs careful use – personally I prefer the words ‘performing version’ for different scholars’ work on the finale. The ‘performing version’ being played was the one originally developed by a quartet of scholars – Dr Phillips, Cohrs, Samale and Mazzuca – and recorded in its then latest form by Rattle and the BPO in 2012 (which I have got to know quite well.) Dr Phillips in the years since then has made some further revisions, the principal ones being that he has cut about 4 bars from the 2012 version of the finale and has also removed the moment just before the final peroration when themes of the previous three movements are played grindingly simultaneously. I thought I heard one or two moments where some other changes had been made but this could just be the conductor’s view of the balance to be struck between different groups of instruments.  Dr Phillips in the talk emphasised the links between the finale and the other movements that are evident from early sketches, particularly the trumpet theme at the beginning of the adagio which becomes a wonderful alleluia-like end to the finale played by the high trumpets at full throttle – thus you cannot just play the first three movements as a ‘safe’ bet. Dr Phillips was also quite clear that he saw the 9th symphony as having a programme – the first movement being the Christian life lived in the presence of God, the second a vision of hell, the third a farewell to life, and the 4th the soul’s journey through Purgatory to an eventual salvation.  I found this very helpful in listening to the music.

I am in danger of being subjective in my reaction to this performance because I so want Kahchun Wong to be a worthy successor to Mark Elder for the Halle but I have to say I cannot remember a finer performance I’ve heard live of the first three movements and I think the version of the finale is a marvellously fitting conclusion. This concert was a much finer reading than Stutzman’s earlier in the year, and to my mind, apart from using the finale (which to me sounds so right now, so inevitable, that I will simply be impatient with those performances which keep to three movements – as I do those performances of only the Adagio of Mahler 10), the main reason for this was the sense of ‘numinosity’ (to use Phillips’ word) that this performance most definitely had. Wong’s was a much more ‘traditional’ reading in many ways of the 9th than say Petrenko’s at the Proms of the 5th, but this came with many positives – the slow pacing of the first movement, the quality of the pauses, and the immensity of the climaxes for instance, all adding to that sense of the sublime, the ineffable. I also felt that the internal logic of the different movements – certainly the first three – somehow appeared clearer than I have ever experienced before – this is about what I’ve called in the past ‘a sense of narrative’, so that the music doesn’t sound episodic (very easy to do with Bruckner). The structure of the first movement – exposition but then a doubling up of development and recapitulation for the remainder of the movement before the coda – seemed clearer, more logical than I’ve ever remembered hearing. The swings of mood in the third movement between exaltation and despair were fully realised.  I have never heard such a powerful account of the climax to that movement, in all its dissonance and angst, and a more beautiful ending to the Adagio. The finale makes more and more sense to me – the first theme, a slippery wayward tune, formed of tritones, the mark of the devil. There is a sad trudging tune for the second theme, related in spirit if not in notes to the third theme of the first movement, and then the magnificent chorale, prefigured in some of the third movement’s material. All this is worked on and woven together in a more coherent way than some other Bruckner finales eg No 7.The finale moved with Wong at much the same speed as Rattle’s performance but I felt Wong was just a little more effective in holding back the final discord before the triumphant ending, and better in the way the wonderful chorale theme was phrased so there was more of a flowing arc at its introduction. The final high trumpets thundering out the 4 notes from the Adagio in praise to God were thrilling – I was utterly overwhelmed.

The Halle sounded glorious throughout. Wong had the double basses lined up at the back to give a deep platformed backing to the orchestra, and the trumpets, trombones and horns/Wagner tubas produced a warm rich sound at high volume, nothing sounding brash (it was a pity though that Mr Wong had moved the first and second violins to be together. They had been split for the Mahler 1 a month earlier). The trumpets were the first to be given a solo bow – quite rightly. Other fine performers included the first flute and the horn section. The string sound was warm and rich. Apart from a slight misalignment right at the start between timps and horns, the Halle sounded impressively together, throughout what must have been 90 minutes of music.

A great evening, and undoubtedly one of my top ten performances of the year…………I really am now going to give live Bruckner performances a rest for a few years, but this was a wonderful way to end his 200th birthday celebration year!

Abbildung des Bruckner, Anton [1824-1896], Künstlerpostkartea

The gentleman in blue above right on the Bridgewater Hall rostrum is Dr John Phillips, enjoying the limelight…..

MITR – Consone Quartet, Mendelssohn. St Matthew’s, Carver St, Sheffield. 26/10/24

Mendelssohn:    String Quartet in E flat (1823);  Scherzo from Four Pieces Op.81;  String Quartet in E minor Op.44 No.2   plus to follow Mendelssohn Roundtable, with Consone Quartet & Laura Tunbridge

The blurb of the Consone Quartet’s web site says that they are the ‘first period instrument string quartet to be selected as BBC New Generation Artists, (and they) are fast making a name for themselves ……Formed at the Royal College of Music in London, the Consone Quartet launched their professional career in 2015”. It’s the first time I’ve heard them – or indeed heard of them when I bought a ticket for this concert

When the first of the pieces to be performed started started – a gentle reflective piece, perhaps with hints of Haydn and Mozart – I forgot in the first five minutes that this was a historically informed quartet and performance and thought the group lacked attack and volume – but this of course is the effect of gut strings and old bows, which prioritise tone colour over loudness; I also felt that there were times when the players didn’t seem quite together – this too was an aspect of period style whereby players might say take different approaches to a crescendo/accelerando – the principle being they have to hit the next bar line on time but can take different ways of getting there. The players in the interesting talk afterwards referenced orchestral players performing Nimrod under Elgar doing something similar on the famous recording. One thing I didn’t hear them doing – but they said they were doing it in the hour or so of performance, as they noted in the talk – was swooping from one note to the next as an expressive tool. 

The 14-year-old Mendelssohn’s quartet to be frank is not that interesting and the stand-alone Scherzo from his last year feels as though it needed to be placed within a larger context.

 Much the most satisfying piece in the concert was the Op 44 no 2 quartet, which is a much richer piece – full of that very specific early Romantic sound common to Schumann, Weber and Mendelssohn. The Quartet was composed by Mendelssohn in 1837 and premièred the same year on 29 October 1837 at Leipzig with great success, and published as a full score in 1840.  The piece is part of the Op. 44 set of 3 string quartets that Mendelssohn dedicated to the Crown Prince of Sweden. I have a recording of the Op 44 nos 1 and 3 but not this one, which I must rectify. Wagner said that ‘water flows from Mendelssohn like water from a public fountain’. That is definitely too harsh but maybe I could sign up to an amended statement which transferred the source of the water to a warm, soothing bath – and who doesn’t like those from time to time………The first movement in particular is memorable and very enjoyable.

After the concert there was a talk about Mendelssohn’s chamber music, with the quartet joined by the academic Laura Tunbridge, an Oxford-based expert on 19th and 20th-century music, Robert Schumann, and opera.

Beethoven, Fidelio. ROHCG. 16/10/24

Director, Tobias Kratzer; Designer, Rainer Sellmaier; Lighting designer, Michael Bauer; Video designer, Manuel Braun. Conductor, Alexander Soddy. Cast – Leonore, Jennifer Davis; Florestan, Eric Cutler; Rocco, Peter Rose; Marzelline, Christina Gansch; Jaquino, Michael Gibson; Don Pizarro, Jochen Schmeckenbecher; Don Fernando, Phillip Rhodes

I saw this production on BBC TV during lockdown – it had been recorded, with the wonderful Lise Davidsen, just before theatres shut in March 2020, and without Davidsen’s co-star, Jonas Kaufmann. I was therefore broadly aware of what Kratzer was doing in this production – an ultra-realistic first half and a ‘contemporary’ second act. I also saw a semi-staged version by Opera North in June 2021, with the excellent Toby Spence and Rachel Nicholls. Before that I would probably have to go back to the 70’s and remember memorable performances by, in particular, Jon Vickers with Josef Krips and Colin Davis, Helga Dernesch and ?just possibly Birgit Nilsson, though I have zero memories of her if so, and Goodall conducting James King and Marita Napier. The production in the 70s at ROHCG was the same as that conducted and directed by Klemperer in 1961!

I think anyone who has done any reading up about this work will know that Fidelio is a problematic opera to stage – the contrast between the singspiel elements in Act 1 and the heroics of Act 2, and the rather ludicrous romantic attachment Marzelline has for ‘Fidelio’ are only two of the difficult issues to deal with. Kratzer has a better go at some of the problems than other productions I have seen – but of course that’s not saying very much. One central extra issue of this production though is the difference between the approaches to the first and second acts. There are some connections – the screen facing the audience when they arrive has the revolutionary slogans of ‘Liberte, fraternite, equalite’ , and with a camera showing the audience arriving. Clearly we are intended as an audience to reflect on what these slogans mean for us, and that connects to the second act. In both acts Marzelline is given a much more upfront role than usual – see below. And in both acts Kratzer adds some spoken dialogue not in the original. The way Leonora/Pizarro/Rocco/Marzelline look/dress is the same in both acts (though Don Fernando is in modern dress). But there are also huge differences between the two acts. In the first Kratzer updates the setting of the opera to Beethoven’s time and it is evident, with French flags, that a revolution has become a dictatorship.  As indicated, the first act is handled in a highly realistic way, complete with Pizarro arriving on a horse, and sturdy prison walls, plus a slightly postmodern looking tree. However there are a number of directorial glosses and interventions – Jacquino is rather creepy and over-assertive, Marzelline discovers fairly early on that ‘Fidelio’ is female and becomes thereafter a willing accomplice to Leonora in various ways.  I think this works – the collective impact is to reduce the embarrassment factor and makes a very artificial plot strike home. Overall I could hear in the interval lots of approving noises from elderly couples, clearly not clued up as to what comes next – the act 1 set looked very little different from that old Klemperer production 63 years ago….. The second act has a very artificial plasticky rock on which Florestan is chained, within a large white-walled room with a vaguely 18th century looking door. Modern day citizens are sitting around the rock looking at the spectacle of Florestan  – the point presumably being that it is much easier to be a compliant make-no-fuss citizen in a modern dictatorship than to take action and be true to your moral sense of what is right. In the first scene of Act 2 there is a large video screen showing close ups of some of the audience – someone is eating chocolate and then looks embarrassed when Florestan is offered a crust of bread by Leonora. A woman drinking a bottle of water feels moved to begin to offer Florestan some but is then stopped from doing so by her companion. In the struggle between Pizarro and Leonora it is actually Marzelline who provides the denouement by entering in the middle of the raging trio and shooting Pizarro in the shoulder. At this point and with the entry of Don Fernando the crowd takes control, disarms soldiers (still in their Napoleonic gear) and assume power over their own lives. Inevitably, and in a rather cliched way the lights shine on the audience at the end – what are our feelings about ‘liberte, frtaernite, equlite’ and the risks of dictatorship of the right or left?. I felt there was something the director was trying to tell us about staging Fidelio that, in the contrast of the two acts, didn’t quite become clear enough. However both acts in their different ways I thought worked well enough, and didn’t deserve the grumbling of the same elderly couples at the end as I walked out of the building.

Musically the performance was very good. I was very impressed by all but the last 5 minutes of Alexander Soddy’s conducting – fast, yes, but propulsive, energetic, well-balanced and exciting. The final chorus though was a bit too quick and lost precision at a couple of moments – however it was certainly exciting! The orchestra was on top form – the horns handling ‘Abscheulicher’ with ease, beautiful oboe playing and some impressive timpanj work. The chorus sounded very impressive- fully up for the manic ending. I was very impressed by Jennifer Davis’ acting – absolutely committed, and engaged (in fact Davis’ performance is one of the most convincing male impersonations I have seen in this opera).. She has the voice to carry over the big ensembles and hit the high notes squarely but I have heard others give more beauty of tone and variation to some of the more lyrical passages.  Any Florestan I hear suffers from the fact that whenever he sings I hear and see Jon Vickers before I focus on him, but Eric Cutler was good enough – a well managed solid voice. The other person who stood out for her singing was Christina Gansch as Marzelline – her voice is supple, strong and she managed some beautiful singing in the more lyrical passages. Everyone else was effective – there were no weak links.

Altogether, though others obviously disagreed, I found this a very satisfying, moving and exciting performance and production which gave this lumbering work an effective update

Britten, The Turn of the Screw. ENO London Coliseum, 11/10/24  

Director and Designer – Isabella Bywater; Lighting Designer – Paul Anderson; Ailish Tynan, Governess;  Miss Jessel, Eleanor Dennis; Peter Quint, Robert Murray. Holly Hylton, Flora; Nicolai Flutter, Miles;  Alan Oke, Prologue;  Gweneth Ann Rand, Mrs Grose. Conductor, Duncan Ward.

I have only seen one live performance of this work – a production for the Buxton Festival a while ago…12-13 years?  My memory of that is pretty misty now, though it was a gripping performance, I think.  I have a 2007 recording of a Glyndebourne production conducted by Ed Gardner.

I was very keen to see/hear this and how it worked on a big stage and large auditorium (though I was sitting in the front row of the stalls). Only the night before I went down to London for the show did I realise this was a new production – I had assumed it was a revival – and that I was attending the first night.

One of the arguments which ENO put forward two years ago to counter the Arts Council’s attack on their funding was the success they were having with attracting new, younger, audiences. It didn’t wash with ACE but I found at this performance it was still undeniably true – a completely different much younger audience for the most part to ROHCG’ ‘s and full of enthusiasm. But with the encouragement of that (precious) younger audience, there does come a responsibility – to make sure that what happens on stage is accessible and engaging so that people come back for more. There is good explanatory material on the ENO website, certainly – but not everyone will read it. As I got on the Tube afterwards at Leicester Square, I found myself sitting opposite two young women, who, I realised after a minute or two, had also been at the performance and were now desperately Googling to find out what it had all been about – ‘oh, so that’s who he was ‘, ‘ah, that’s what happened.’ They had clearly been baffled by the experience, and, as I got off the train at Russell Square, I said to them – ‘Don’t worry, I was as puzzled as you were by this production.’ They probably just thought I was being creepy, but that is what I did feel.

Maybe I should have bought a programme…. the director’s concept might have been clearer from that. I shall look forward to the reviews with interest to see what they make of it. The setting seemed to be a sanatorium, maybe a psychiatric hospital. The costumes looked 1920’s (I wondered briefly whether Quint and Mrs Jessell were meant to be Mr and Mrs Britten – this being the period of Britten’s childhood) but curiously there was a monitoring screen on the wall which looked 1960’s (thus maybe – the Prologue implies this – there is a gap of time between the events at Bly and the present) . The Prologue was narrated by someone coming in to the front desk of the hospital, maybe searching for an inmate. The ‘train’ narration by the Governess was given while kneeling on her bed and maybe therefore either she was mad when she went to Bly or has become so through her experiences there. Nurses in 1960’s uniform and maybe one or two patients drift across the set at points. There’s much use of video to suggest the park, grounds and interior of Bly which may also suggest the Governess is reflecting on the past. I wondered from some of their positions and costume whether Quint and Mrs Jessel were ‘really’ a doctor and nurse at the hospital who had been drawn into the Governess’ dreams/delusions/memories. But then Quint in the last scene is wearing a dressing gown as he attempts to wrest Miles away from the Governess…. Quint behaves controllingly and violently towards Miss Jessel in Act 2 – what time does that refer to? And are Miles and Flora just part of the past in this production or do they have any sort of reality in the hospital- likewise Mrs Grose? It was all, frankly, a bit of a muddle. Of course, in a more ‘traditional’ production, there would also be ambiguity about who Quint and Mrs Jessel are, but, overall, I felt this audience, at this time in ENO’s long history, would have been better served by a production which simply told the story well and left the work to be interpreted by the audience – it is one of those works which doesn’t benefit from a heavy directorial hand.

The scenery was the same throughout – two flats, one moveable, representing walls of the country house which shifted cleverly to different parts of the stage, and some furniture – two beds, a desk, a lampshade, and armchairs. Above the walls, but never fully revealed, are stark bare branches sticking up into the sky, maybe representing the sterility of the Governess’ incarceration – by contrast the (I think entirely) black and white videos are full of luxuriant foliage and beautiful interiors, again feeling like remembered images. I thought this was all very effective – and the sets, as you can see from the photo below, also have the effect of cutting off the back of this large stage and making it easier for the singers to project into the audience.

Within the constraints of this rather confusing production, there were some very effective portrayals by the singers. I haven’t come across Ailish Tynan before, though I’ve heard her name, and I thought she was very good indeed – she has a most beautiful voice in her upper register and was very effective in conveying the nervousness, the affection, the horror felt by her character. Her diction was clear. Miles and Flora were remarkably well sung and acted in what are very difficult roles for young people – Miles had just the right degree of stiffness without simply looking worried at being on stage (he needs to synchronise his piano playing a bit better though….) Robert Murray as Quint had the right degree of menace and his opening call to Miles was beautifully haunting. Mrs Grose was similarly very well sung by Gweneth Ann Rand. The small orchestra (I think there are 13 players) did all that was required of them, and Duncan Ward ensured they never drowned the singers.

There was much cheering and warm applause at the end, which I think was as much about general ENO supporting as anything else. I was pleased to see this production, and would love to see another more straightforward presentation of this deeply unsettling work, which, in these times much more than maybe at its first performances, does more than hint at sexual abuse, and deeply controlling behaviour, showing a glimpse of the worst of what human beings can be. Quint is of the same stock as Claggart, the baying crowd in Peter Grimes and the sinister, shadowy figures of Death in Venice pursuing Aschenbach – maybe also Oberon

Welsh National Opera – Puccini, Il Trittico: Cardiff 3/10/24

Cast: Dario Solari, Michele/Gianni Schicchi; Natalya Romaniw – Giorgetta | Sister Angelica; Haegee Lee – Young Lover | Sister Genovieffa | Lauretta;  Trystan Llŷr Griffiths – Young Lover | Rinuccio; Anne Mason – The Princess | Zita; Sioned Gwen Davies – The Abbess & La Ciesca; Mark Le BrocqIl –  Tinca | Gherardo; Wojtek GierlachIl – Talpa | Simone; Yvonne Howard – La Frugola | The Infirmary Sister; Andrés Presno Luigi;  Linda Richardson Nella; James Cleverton Marco; Benjamin Bevan Betto di Signa; Osian Wyn Bowen Song Seller; Fiona Harrison-Wolfe,  Midinette. Alexander Joel, Conductor; David McVicar, Director; Greg Eldridge. Associate and Revival Director; Charles Edwards, Set Designer; Hannah Clark, Costume Designer. Ben Pickersgill, Lighting Design

Apart from ’O mio babbino caro’ I have never heard a note of this music before, let alone ever seen the trilogy live in the theatre. This was a unique chance – I am sure I will never get the opportunity to see it again. So I very willingly set off on the four and a half hour journey from home to Cardiff by train. I guess a few years ago the staged performances of the three works would probably also have been on tour to the more accessible Birmingham or Oxford venues as well – but not since the Arts Council’s cut to WNO’s touring budget in England………….

The last time I was in Cardiff was also for an opera – 45 years ago, Reggie Goodall conducting Tristan with WNO to wild applause. The Cardiff Donald Gordon Theatre, part of the Welsh Millenium Centre and the WNO’s home now, is a magnificent theatre, seating 1900 and with excellent acoustics. Sadly, the embattled WNO, with funding cuts from both Welsh and English Arts Councils, did not have a full house for this performance – maybe 50% full. The orchestral players were wearing T shirts protesting against cuts and a walk out by the chorus had only narrowly been avoided the previous week. Nevertheless, the audience was noisily enthusiastic, particularly for the orchestra, and from the conversations I could hear around me some had travelled quite a distance to be there – Bristol, Bournemouth, and Reading.

I was reflecting during the evening that it is an extraordinary achievement for Puccini and his librettists  to have constructed 3 very different music dramas – each no more than an hour, each with a very different musical world, and each with its own special mood (from dark and gloomy to saccharine and sumptuous to vivacious). It’s a long evening, though – four hours with intervals – but I was never bored (except during the intervals, which were too long). There’s a curious link between the three very different plots – the death of a lover/son/family member – but there’s little that could be said to be musically connecting the pieces. The orchestration is wonderful – I could as easily just sit and listen to the orchestra in the pit as watch the stage and see the singers; this was Puccini’s last work before Turandot, and the colours of his three scores are remarkable.

The sets for the three were all different but straightforward and realistic – a Parisian canal, a convent and a sitting room. The photos below offer a reasonable view of them. For the first two works costumes were vaguely contemporary with the pieces’ genesis – 1910s – or maybe a bit later., 1920’s. For some unclear reason, Gianni Schicchi was set in the early 1970’s but this wasn’t a huge distraction. All three were extraordinarily detailed in terms of props – the convent had a faded black and white photo of a long-forgotten pope or cardinal for instance and felt exactly like the convent I used to live in (that story is for another time), while the Gianni Schicchi props included splendid 70’s lampshades, handbags, dresses and antique TV. McVicar’s (and the revival director’s) handling of people on stage was deft at all times, fully in line with the needs of verismo, and memorable.

Il Tabarro is the darkest of the three works – in what happens, in the music (generally slow moving but the work suddenly combusts at points with suppressed desire) and in how the set looked – a dark barge, a dimly-lit building nearby and a half-bridge. Natalya Romaniw was superb. She has a full warm voice, and an attractive stage presence – she knows how to handle herself on stage, and she got a great round of applause as a local girl-made-good from the audience.. Michele was sung by Dario Solari who was most impressive – a big sonorous dark baritone, and again good on stage. Luigi was maybe a little underpowered. Smaller parts were well taken with artists of the status of Mark Le Brocq performing.

Suor Angelica is probably the biggest hitter of the three. To say it’s ‘saccharine’ doesn’t quite do it full justice as a story  – mawkish, maybe? – but it is undoubtedly compelling, particularly from the arrival of the Aunt onwards, where the music opens up and becomes enthrallingly luscious. You know you shouldn’t….but really, best just to sit back and wallow in an enveloping flow of gorgeous music; the last 20 minutes or so are like an Italian Liebestod . Natalya Romaniw was again very impressive, giving it her all, with Senza Mamma being particularly fine.  On one occasion she didn’t quite handle a soft high note in the way I think she wanted to but her performance otherwise was stylish, moving and lovely – as well as grand in the final moments. There was a rare mis-step, I thought, from McVicar in the closing part of the final scene – the entrance of the small boy at the end (Angelica’s dead son) was somewhat flat and matter-of-fact. He should have come in clouds of glory and bright lights as the angelic chorus got going……..(as in a YouTube video of a Met production I looked at the following evening at home).

Gianni Schicchi was hugely enjoyable – great company ensemble working (including many of the WNO Chorus, with small parts), very funny and brilliantly thought through by McVicar. Again Dario Solari was very impressive – a big presence and a big voice, who was able to fool around in the scene where he is impersonating the dead Buoso.

Throughout the entire evening, the WNO orchestra played beautifully.

I was very glad I had seen this.

Halle Orchestra, Wong – Britten and Mahler: Bridgewater Hall, 26/9/24

Britten The Prince of the Pagodas: Suite arranged by Colin Matthews and Kahchun Wong; Mahler Symphony No 1 ‘Titan’; Kahchun Wong conductor, Halle Orchestra

Kahchun Wong is Singaporean, aged 38 and has been chief conductor of the Nuremberg Symphony Orchestra, the Japan Philharmonic, and now the Halle, as well as being principal guest conductor of the Dresden Philharmonic. He won the Gustav Mahler conducting competition in 2016. So, a young man, making his way in the world….. This was his debut as chief conductor with the Halle. There was scurrilous blogging, possibly from trolls, last year on the ‘Slipped Disc’ blog, when the 5-year appointment was announced – was the Halle panicking, with no replacement for Mark Elder in sight, and with Wong chosen after just one concert? He has only conducted a couple of concerts with the Halle since in the UK (though he has been on tour with them to Spain and has made a recording of the complete Britten ballet). So – this was in many ways a very important concert both for him and the Halle. The Lord Mayor of Manchester and various metropolitan mayors plus key sponsors were in attendance. This concert lived up to expectations!  

Kahchun Wong was interviewed before the concert and came over as modest, thoughtful, and knowledgeable. He spoke mainly about the Britten piece and his work with Colin Matthews to create a suite from the two-hour ballet. He had spent time at the Red House last year studying the original score, he said and he marvelled at the fluency of Britten’s invention – very few crossings out on the original score.

Mr Wong does not have a manic podium presence nor is he a deft stick wielder, particularly. He is in fact quite a calming figure before the orchestra, cueing in instruments clearly, with a precise beat. What he does seem to radiate is a lot of self-confidence and he clearly has the respect of the players. At the same time, he knows how to generate considerable excitement and energy within the orchestra at key moments – particularly in the Mahler – without excessive gestures, but by stretching out his arms, occasionally crouching for climaxes, and all with animation, smiles, and enthusiasm. I was pleased to see he’s maintained the split violins arrangement Sir Mark Elder had requested for the orchestra.

The Britten piece had some Mahlerian aspects -the fanfare for instance -and it is scored for a similarly sized orchestra to Mahler 1. It is also fascinating to note the gamelan-like sounds prefiguring the dances in Death on Venice. I don’t know the piece well, though I have the Knussen recording of the full ballet, but it seemed to me the orchestra played with energy and precision – some noticeably good oboe playing… . The Britten piece is fascinating to listen to but like all such suites – e.g. the Firebird – there are too many grand moments from all the goodies in too short a space of time – 30 minutes – so that it feels too rich and sweet, too much of a good thing sometimes, and with too many climaxes.

I’ve seen/heard many performances of Mahler 1 over the 58 years or so since I bought my Solti/LSO recording of the work in 1968. In recent times I have heard fine performances by Rattle/Berliners at the Proms in about 2010, and Pappano/Sta Cecilia Rome orchestra in 2018. I heard a performance I much disliked by Daniel Gatti in Leipzig last year. This performance by the Halle was exceptionally worthwhile, for the following reasons:

  • The balance between blocks of instruments was very well handled so that the sound was always clear. This was particularly the case in the first movement, where I have hardly ever heard so much of the woodwind detail
  • The structuring of the piece was well done – suppleness in the playing of phrases to allow each part of each movement to seem alive. Climatic moments were clear. The first statement of the triumphal ending tunes half way through the movement was quite clearly held back to emphasise the final triumph
  • Tempi were always well chosen, to allow savouring of the music but without becoming self-indulgent. The first three movements in fact were all slightly on the slow side, but this allowed for some expressive phrasing and a lilt to the folky elements
  • Some outstanding string playing – the cellos and basses digging in deeply at the beginning of the scherzo, and the violins sounding glorious in the finale’s big tune

Unlike the Gatti performance, nothing sounded manufactured. The music flowed inexorably and movingly. At the end, the Halle audience gave the performance a standing ovation – I’ve only ever seen that for Mark Elder before in Manchester, so that was a very good and absolutely justified sign of audience support for the new regime

Mahler in Prague

Tchaikovsky, Eugene Onegin. Dress Rehearsal, ROHCG; 20/9/24

Director, Ted Huffman; Set Designer, Hyemi Shin; Costume Designer, Astrid Klein; Lighting Designer, D. M. Wood. Conductor, Henrik Nánási. Eugene Onegin, Gordon Bintner; Tatyana, Kristina Mkhitaryan; Lensky, Liparit Avetisyan; Olga, Avery Amereau; Prince Gremin, Dmitry Belosselskiy (replaced by Brindley Sherrat); Madame Larina, Alison Kettlewell; Filipyevna, Rhonda Browne; Monsieur Triquet, Christophe Mortagne

In 1969 I went on a school trip to Russia and encountered the Soviet Union in all its ….well, remarkable presence. The Young Communists’ greeting party in Moscow, trips to Odessa, Yalta, Minsk, Kiev and Leningrad, a visit to the ballet…..the works…..I remember drinking in an Odessa bar with young Russians, my fellow school boys using German to talk to them (the Russians had served in East Germany). One of the things I took back with me from the trip, bought in a hard currency shop (and I’ve still got it in our sitting room) is a Melodiya recording of Eugene Onegin, my first encounter with the work. It has Vishnevskaya as Tatyana, and I played the harsh recording a lot, giving me a real understanding of the whiny Russian horns, the harsh trumpets and trombones, and the nasal oboe that were standard at the time in Russian orchestras.

I have only seen Onegin in two productions live on stage – I heard the work live first at Covent Garden in the Peter Hall production with Ileana Cotrubas and the Canadian singer Victor Braun, in the early 70’s, conducted, I think, by Solti, and then a fine performance in Vienna in 2015 with Netrebko, no less, as Tatyana, and Christopher Maltman as Onegin. I knew nothing about the work of the director of this new production at ROHCG (and indeed the same is true of most of the cast), but remembered with pleasure seeing the Stefan Herheim take on the Queen of Spades, brilliantly conducted by Pappano at ROHCG in 2019 on screen. So I hoped for something thought-provoking and intelligent, well-sung and played.

The production met or exceeded my expectations. Eugene Onegin is one of those operas which directors take liberties with at their peril – though you might have said the same of the Queen of Spades and look what Herheim made of that……. No doubt thinking of the requisite production longevity in an age of austerity, ROGCG managers, I am sure, breathed a sigh of relief when they saw what Ted Huffman and his team proposed to do with the opera, and they must have become positively enthusiastic when they realised that there were basically no sets – none of the court ballroom/country house sets and Pushkin-era props, but simply a blank open lightish floor and dark surrounds, as attached in the photo below. There was a raised long bench at the back which could act as a banqueting table or a low wall, and that, apart from some chairs and small tables, was that – some rather weird space age candelabras came down for the last scene, I should add, and M. Triquet had some balloons and balls for the party. Occasionally lights played on the backdrop, creating a an effect of clouds or mist.  The entire cast was clothed in what amounted to modern dress, apart from arguably the nanny. There were one or two slight production oddities – a ginger haired woman who helped Tatyana write her letter but who certainly wasn’t Olga; and someone who might have been M. Tricquet wandered round the stage in the second half to no particular point

 But essentially this was a very moving straightforward reading which I thought was excellent. The dark back and sides emphasised the claustrophobia of Tatyana’s country house, the night of letter writing and the darkness of the morning of the snowy duel (and there was snow…..). The direction team let the story unfold naturally, with the first scene’s Chekhov resemblances emphasised. A particular virtue of the production was the way chorus and dancers were handled – dancers and singers blended well, and there were some impressive stage pictures – eg the whirl of people in the country ball.

There are four problems to my mind about Eugene Onegin as a work, which this performance overcame to the extent any could. One is the awkward uneven length of the 7 scenes – you end up with a long first half or a long second, or two intervals – this production opted for the former (1,35 hours and 50 mins). The second is the irredeemably horrid nature of Onegin, who generates no sympathy whatsoever….. Gordon Bintner made the best possible case for this character Thirdly, things can seem to go a bit flat after the duel. It didn’t here because of the quality of singing by Onegin and Tatyana but was also due to the appearance of Brindley Sherratt (a sudden step-in from holiday for an ill Dmitry Belosselskiy) who sang his Gremin aria magnificently, with huge and convincing presence. The final problem, which Tchaikovsky himself recognised, is the episodic nature of the work, moving forward quickly with various different settings and times. I felt gripped throughout, though, by the quality of acting, singing and conducting.

Bintner, an up-and-coming Canadian had a beautiful burnished voice (though was he singing under the note at one or points?), big stage presence, good looking and effective actor. The opera is made or lost by the Tatyana, and  Kristina Mkhitaryan was very impressive indeed.  She’s a very commanding actor, she looks convincingly like a young woman, she has a powerful voice when needed, no Slavic wobble, and can sing most beautifully sotto voce. She was utterly convincing, and particularly outstanding in the last scene, in the dignity of her response to Onegin. Liparit Avetisyan as Lensky flung himself into the role as though it were Puccini and sang generously and well. I thought, of the rest of the cast, Alison Kettlewell as Mme Larina, and Filipyevna played by Rhonda Browne were particularly effective. I didn’t form a very positive view of Henrik Nanasi when he conducted the Flying Dutchman earlier in the year but the orchestra played magnificently for him today, all the climaxes well judged, strings warm and glowing and woodwind agile and plaintive. He kept things moving, which helps with tackling the episodic issue. The augmented chorus sounded very fine indeed, with an authentically Slavonic tinge.

 The heart of the work is the Letter Scene and if that doesn’t impact upon and move you, the performance is lost. I thought it was wonderfully – really, very movingly – sung and took me back to my 17 year old self listening to the Melodiya recording for the first time, terribly touched by it, and remembering all the things I’d seen in that Soviet Union visit.