St John’s, Smith Square, 8 December 2012

This was announced as a chamber Messiah, but the dynamic impact was anything but. Drawing on nine young singers, all of whom are soloists in their own right, who were able to form the most cohesive and mellifluous of choral sounds, would have been impressive enough by itself. When one then realised that the performance was being sung from memory, with the narrative drive of a closely argued operatic text, the impact was overwhelming. Tempi never felt rushed but the seamless continuity from one piece to the next led to long stretches of development which can too easily be missed in performances which allow for shuffling and coughing between items, to say nothing of rearranging singers and instrumentalists.

Following eighteenth-century practise, the group have no conductor, and in this case not even their regular keyboard player, as David Wright was a last minute substitute at organ and harpsichord. This requires a far closer rapport than is normal even in chamber ensembles, and it was fascinating to watch the amount of eye contact between all on stage to ensure that they were not only together but making the subtle changes in dynamic and tempi which bring musical lines to life.

Singing some choruses a capella was not only justified but made musical sense. The hushed sensitivity of And with his Stripes flowing through All we like Sheep to close down to a reverential the Lord hath laid upon him was very moving.

Natural trumpets are always a problem even for accomplished soloists so it made sense to split the solo part across two performers. I recall many years ago being at the first performance of Basil Lam’s edition under Charles Mackerras where it took about six breaks before we could get to the end of The Trumpet shall sound so difficult was it for the trumpeter at the time.

It seems almost invidious to name individual singers under these circumstances but tenor Thomas Herford and counter-tenor Michal Czerniawski were particularly impressive and Zoe Brown was radiant in I know that my Redeemer liveth.

There was a well focussed essay in the programme drawing attention to the theology which lies behind Jennens’ word book, which was printed in full, together with the scene titles which make sense of the structure. Messiah is heard so frequently it can become just another winter event. When it is presented like this, a performance which strips away the religiosity to reveal the spiritual heart of the work, we can only be thankful that there are musicians around with the integrity to challenge us. Long may they do so. BH

Royal Festival Hall, 2 December 2012

A packed Royal Festival Hall indulged itself in a matinee Merry Widow that more than lived up to expectation. It is surprising, given the continuing popularity of the work, that it is not a basic component of any of our major opera companies.

What made the afternoon slide by so easily was the new narration written and performed by Simon Butteriss. A consummate performer in his own right, his story telling was done in character which provided a bridge between the action and the audience without the constant need to step in and out of character. Added to which it was witty and pointed without being over contemporary in its allusions.

This might have carried the afternoon by itself but the singing was universally high, with Claudia Boyle’s Widow more glamorous than one might hope for, and a voice which found no problems with the often high tessitura. Daniel Prohaska was somewhat too smooth as Danilo and one would not give much hope to their relationship surviving for very long, despite the warmth of the waltzes. Alan Opie was a delight as Count Zeta, allowing things to pass under his nose without letting it upset his enjoyment of life. As the young, would-be, lovers Sarah Tynan and Nicholas Sharratt brought some needed tension to the story and hinted at the relationship which Lehar was to explore in The Land of Smiles.

The Philharmonia Orchestra and Voices under John Wilson were in fine form. How good it is to hear Lehar with a full orchestra and chorus, rather than the more conventional pit bands of the amateur circuit. John Wilson has an increasingly secure reputation for mounting operetta and musicals with quality forces, and in doing so demonstrating the quality of the works which is too easily overlooked. Hopefully there will be more like this. BH

27 – 29 November 2012

Reviving productions can obviously be fruitful for any company but there may be hazards running a season entirely based on them. Katie Mitchell’s highly dramatic and passionate reading of Handel’s Jephtha has made a strong impact since its first showing almost ten years ago and in the hands of revival director Robin Tebbutt still makes an excellent case for staging what is, after all, an oratorio.

The emotional complexity of the work means that our sympathies shift as the story unfolds, but on this occasion it was the arrogance of Jephtha himself, in his refusal to ask for help or clemency on the part of his innocent daughter, which came over most clearly. The anger and understandable lack of forgiveness from Storge at the end was never in doubt as the men return to what they do best, running the world, regardless of the emotional turmoil they have caused around them.

Robert Murray made a reliable if not necessarily likeable hero, his rendition of Waft her angels one of the few moments we felt real sympathy for him. Fflur Wyn’s Iphis has been a key feature of this production and her combination of innocence and nobility, together with a beauty of tone and musical line, carries all before it. On this occasion she was partnered by Robin Blaze as Hamon, suitably gauche at the start but eventually caving in to the driven masculinity around him. Only Diana Montague’s distraut Storge stands out against the demands for Iphis’ sacrifice, but what is one female voice in so masculine a world. This may not have been the way the Georgian audience would have read the work but today it makes its case with authority and bite.

Thomas Blunt, on the one time in this run he was due to conduct the work, made the most of the shallow pit and there was fine continuo work from Mark Packwood on harpsichord and organ. At the end the cast showed their appreciation of Thomas Blunt’s handling of the evening – it is never easy taking over at the end of a run.

I have to admit I did not enjoy Benjamin Davis’ production of Cosi fan tutte when it was new last year and its vulgarity has only been slightly tempered in revival. Quite why anyone should think this an adequate presentation of Mozart’s sensitive masterpiece is beyond me. Allowing central arias to be up-staged by comic business can only be accepted if there is a water-tight dramatic reason for it. Here, time and time again, it seemed to be that the director was afraid of his material and refused to allow it to sing for itself. Thankfully much of the singing was convincing, even with two late changes to the cast. Steven Page made a cynical and aggressive Don Alfonso, in league with a charming Despina from Joanne Boag who learns all too late just how nasty a world she has got herself involved in. She is a fine comic actress, and under other circumstances could have made the part far more impressive. Maire Flavin dropped into Dorabella with flair and a voice which found no difficulty with Mozart’s demands. That she was asked to emote wildly and flamboyantly was not her fault. Elizabeth Watts’ diminutive Fiordiligi was all fire and attack but gave us one of the few reflective moments of the whole evening with a fine Per pieta. Gary Griffiths’ Guilielmo enjoyed himself as an over-the-top Redcoat but Andrew Tortoise’ Ferrando, though accurate, was emotionally flat and uninvolved.

In the pit Mark Wigglesworth took a brisk no-nonsense approach which, under the circumstances, was probably wise. I hope this is the last we see of this staging. WNO and Mozart both deserve better.

The rapid return of Annabel Arden’s production of La boheme was far more welcome. Its simplicity and courage to trust the work itself makes for a convincing evening on every level. Stephen Brimson Lewis’ design work and Sam Hunt’s videos allows the emotional ebb and flow of the work to be supported without being overwhelmed. How good to see act two without feeling the need to round up every extra in Cardiff and throw in animals and brass bands for good measure. For once we were able to concentrate on the protagonists and their rapidly unfolding relationships. After two lengthy evenings prior to this I was struck again by just how short La boheme actually is and how succinctly Puccini moves us on. Casting from strength, the students are physically convincing as well as having the vocal strengths for the part which, if short, is also demanding. Alex Vicens and Giselle Allen were well matched as Rudolfo and Mimi, but I particularly enjoyed the more wayward, and adult, relationship of David Kempster and Kate Valentine as Marcello and Musetta.

Andrew Greenwood cosseted his forces in the pit, allowing it to overflow where necessary but never milking the score for simple sentimentality.

This was a strong way to end the season, and made it easier to overlook the night before. In the Spring we are off to a better start with a new production of Lulu and revivals of a fine Cunning Little Vixen and Madama Butterfly. www.wno.org.uk/