Birmingham Symphony Hall, 21 June 2014

Midsummer’s day 2014, and the climax of four years of magnificent music making. Opera North’s presentation of Gotterdammerung had all the excitement of the earlier operas in this Ring Cycle but had also refined the staging so that the simplified, symbolic gestures were always apt and never interfered with the musical narrative. To take one example, at the end of Act One Siegfried stood behind Gunther when in disguise and then stepped in front of him when he removed the tarnhelm. Simple, but masterly. There are no swords, spears or even a ring, yet we can clearly see them all the time – such is the conviction of the singers.

Moreover, what could so easily have been a concert performance with pictures was a finely honed interpretation, as good as any one might wish for in a fully staged version. None of the protagonists is evil. Even Hagen is driven by the curse that his father has placed on the ring, as are all of the characters here. There is a continuing sense of hope throughout this approach which is dashed as the curse works its way into the unfolding narrative.

While the Norns are doom laden there is a genuinely exultant duet for Brunnhilde and Siegfried at the start of act one, and this continues until Gunther/Siegfried return to Brunnhilde’s rock. Eric Greene’s Gunther has nobility and stature, which makes his collapse in act two all the more tragic. Similarly Olga Boylan’s statuesque Gutrune is out of her depth once her world starts to fall to pieces. There is no sense of cunning manipulation here. Mats Almgren is a slippery Hagen, not a man to trust for a moment, but one drive by inner demons which distort his sleep and wrack his body.

Susan Bickley is so good as Waltraute it is a pity she only appears in the one scene. Her sensitivity and the complexity of her emotions as she speaks of the disintegration of the gods was magnificent.

At the heart of the evening was Alwyn Mellor’s Brunnhilde and Mati Turi’s Siegfried. They spark so well off each other, the second act confrontation was almost unbearable. Her anger and lust for revenge was heightened by the love and joy she had poured out in the opening act, all of which was resolved in a radiant Immolation scene.

Just occasionally Mati Turi’s Siegfried seemed to be tiring, particularly towards the end of the second act, but he had more than enough resources for a very moving death scene after the lighter interaction with the Rhine Maidens. He brings an innocence and warmth to Siegfried which makes Wagner’s own love of the hero so much more palpable.

The orchestra and chorus of Opera North, within the glorious acoustic of the Birmingham Symphony Hall, could do no wrong. The orchestra under Richard Farnes was particularly impressive in the many quieter passages of the opera –the Alberich/Hagen scene and Brunnhilde’s ruminations after the oath scene. Much of the orchestration here seemed to be looking forward, not just to Parsifal but beyond to Schoenberg.

I understand this is not the end of their Wagner mission and that we are to get Der Fliegende Hollander  next year. Hurray – I can’t wait.

Birmingham Hippodrome, 20 June 2014

Edgar Allan Poe has cast his shadow across many artists in the early twentieth century, particularly in the cinema. It is strange therefore that there should have been so few attempts to draw out an operatic version of The Fall of the House of Usher.

WNO have recently drawn together two settings – Gordon Getty’s one act opera and a reconstruction by Robert Orledge of Debussy’s remaining fragments. Neither is totally satisfactory. Gordon Getty bases his approach on a new text which relies heavily on dialogue – not a feature of the original – and music which is supportive but unmemorable. While the massive projections from Penrhyn Castle are impressive, the action within them is too often limp and lacking in atmosphere. While Jason Bridges cuts a dash as Poe, Benjamin Bevan seemed ill at ease as Roderick and there was little sense of a deeply troubled personality. Kevin Short’s Dr Primus made a stranger impression though his character was created for the opera and drains any focus away from Roderick.

Debussy may not have completed his opera but the chunks we do have and the reworking make for a more substantial and atmospheric piece. The focus here is entirely on Roderick, subtly characterised by Robert Hayward, as he slips ever further into madness. William Dazeley as his friend is at a loss to either understand or to help, and his frustration is finely caught. Anna Gorbachyova has little to do as Madeline but sets the tone of tension and suspense in the opening scene. The video projections were far more apt in this second half, focussing on details of the massive columns, dominating the stage like a vast Egyptian temple, oppressing the mere mortals who scuttle within its shadows.

The orchestra was in good form under Lawrence Foster, though even the Debussy produced little that was really memorable on a first hearing.

Philip Glass has a version of The Fall of the House of Usher which was brilliantly staged by Music Theatre Wales some years ago. It might have made a better companion piece to the Debussy and a more satisfactory evening.

Wormsley, 19 June 2014

Summer festivals are an ideal time for rediscovering some of the cul-de-sacs of the operatic world and David Parry has unearthed a little gem in Offenbach’s Vert-Vert. The complex plot involves a girls’ school, a set of unlikely dragoons and a dead parrot. Any thoughts of Monty Python are perfectly acceptable given the tortuous nature of the narrative and the fact that three of the four eloping couples are already married! All of this is set within a fairy tale convent and costumes straight out of conventional operetta – bright red dragoons and gently purple damsels.

At the heart of the evening is Robert Murray’s Valentin, an unworldly boy who grows up rather more quickly than Albert Herring but very much in the same way. Offenbach uses the conceit of his voice to make the change – Valentin is a fine tenor and, escaping from the convent, just happens to be snapped up by a world famous opera singer. This is one of the diversions which, while amusing, does not quite work. The opera singer, La Corilla, sung with great abandon by Naomi O’Connell, is the star of act two yet disappears from then on.

The one singer who does hold the evening together is Fflur Wyn’s radiant Mimi, florid of voice and pert of character and appearance. She drives the narrative forward, even in the most unlikely of circumstances, and gets her man in the end.

Of the large cast, Geoffrey Dolton impressed as Baladon, the dancing master, not only for his fleetness of foot and voice but his ability to turn cart-wheels at a moment’s notice – not many opera singers have this in their CV. The chorus, as so often at Garsington, were obviously thoroughly enjoying themselves and their joy was catching.

The opera has some memorable music. Mimi’s Vert-Vert’s surely not a child, Valentin’s The happy man who would remain and the lovely Summer Night sextet stand out, though there are rarely any dull moments. The problem, if there is one, is with the dinner interval which makes for a very long first half and a short, though effective, final act.

David Parry rediscovered the work some years ago and recorded it in French. This new version is given in his own very witty translation and it would be good to see this alongside the original. He has a flair for comedy which should be recognised alongside this many skills as a conductor.

Garsington Opera 2014

Wormsley, 17 June 2014

John Cox’ deeply humane reading of Fidelio made a very welcome return to Garsington Opera in the more opulent surroundings of the Pavilion at Wormsley. The severe Panoptical set seems less cramped now, and the movement of the prisoners into the garden is a genuinely magical moment. On the evening we were present, the late sunlight was blazing from the East and as the prisoners emerged from the crypt the blinds along the side were raised so that the sun flooded the auditorium.

While the setting may be dominated by steel and concrete, there are constant attempts from the protagonists to humanise it. In the opening scene Jennifer France’s vivacious Marzelline is planting out in her tiny garden, a sign of optimism and hope. The prisoners are treated with dignity by Rocco’s family, making the later brutality of Pizarro and his henchmen all the more despicable. John Cox is not afraid to underline the Christian references in the text, and the symbolism of the bread, wine and chains falling off are pointed without over emphasis.

If the final scene lifts the whole evening closer to parable than naturalism, then this is in keeping with Beethoven’s optimism in the face of despair on both a personal and universal level.

The Garsington Opera Orchestra under Musical Director Douglas Boyd provided  a strongly focussed and fast-paced account of the score, with some fine brass playing throughout. The chorus gave of their best and the subtle individuality of the prisoners is just enough to make us realise that they still maintain their personalities even though the system would wish to reduce them to mere numbers.

The revival is cast from strength with Rebecca von Lipinski and Peter Wedd returning from the original cast in 2009. Her Leonore is utterly convincing in both dramatic presence and voice. His characterisation as Florestan grows in strength as salvation approaches, though the opening aria seems laden with desperation rather than hope – an unusual but dramatically effective concept.

Darren Jeffery is a dominant bully as Pizarro and has the rasping voice to go with the character, in total contrast to the nobility of Joshua Bloom’s Fernando who, unusually for this opera, really does dominate the final scene.

Stephen Richardson’s Rocco is a convincing gaoler and sensitive to the needs of his family, his bluffness covering a deep concern for the prisoners in his charge. Sam Furness gave us a young and active Jacquino. There is no hint here that Marzelline will be getting second best when she realises Fidelio is a woman.

When I last saw this production at the old house in Garsington, I was present on the only evening which had to be abandoned because of the weather, when the battering of the storm blocked out the music and flooded the orchestra pit. No such problems today, and, we hope, never again!

London Coliseum, 16 June 2014

The underwater scenes caused something of a sensation when the production was new four years ago and they are certainly still very impressive. As the brief orchestral introduction unfolds the whole of the Coliseum stage becomes the sea, with gentle sunlight piercing the deep as three divers swim down to collect pearls. They return at key moments, either below or above the water’s surface, and all of the settings reflect the close relationship between the sea and the people. The mix of live performers with subtle video is extremely effective, and far better than video alone.

Within this environment the love triangle is worked out, constantly harking back to earlier events at the temple when the three protagonists had first met.

George von Bergen is not only a virile and dynamic Zurga but a convincing leader of the village. His emotional problems in act three are clearly defined without stretching credibility. It is only a pity that the ending of the opera is so weak musically that it fails to give him the emotional clarity the character needs.

John Tessier’s Nadir is not quite the outsider and his relationship with Zurga is strongly developed as the first act progresses. The famous duet, while beautifully sung here, is also given the uncomfortable edge it rightly needs to carry the narrative forward. The focus of their concern is Sophie Bevan’s Leila. There was an apology at the start as she had been ill earlier in the day but there was little sign of this in her warm and sympathetic approach to the part. She makes it clear that she is an unwilling priestess, as she dangles her feet off the pier.

The only other character is Barnaby Rea’s commanding High Priest, though the production allows him to disappear in the third act, weakening the conclusion.

Most of the evening is beautifully and sensitively lit, though there are moments when the lighting of the chorus was flat and over-bright. Though the choral singing is strong throughout the set does not help them. The long thin horizontal walkways mean the chorus have to shuffle in in single file from the sides and are effectively stuck where they are. Where a Sri Lankan crowd should be volatile and constantly on the move, as the music indicates, these people are static throughout. Needless to say there is no dancing and no room for it.

Jean-Luc Tingaud gives us a full romantic sound from the pit and moves the narrative along while allowing us to indulge in the many purple passages.

Handel: Israel in Egypt

Rochester Cathedral, 7 June 2014

Scott Farrell took over as Director of Music at Rochester Cathedral in 2008 but this was his first time as conductor of the Rochester Choral Society. Added to this, the choice of work had already been decided by his predecessor. No pressure then!

In the event this was a highly successful evening with much glorious music making from all involved. While the solo parts are important, the weight of the evening rests securely with the choir, and most of the first half relies on their stamina and accuracy to ensure we move swiftly and securely through the list of plagues and calamities before emerging into the light of the desert. The opening chorus And the children of Israel cried was taken at a fast pace, a hint of what was to come throughout the evening, pushing the narrative forward and maintaining the momentum throughout. Given that the ranks of men, as so often with local choirs, were heavily outnumbered by the ladies, they were remarkably forceful. In Israel Handel frequently opens a chorus with the men, which puts pressure on them not only for accuracy and attack but for impact. This is particularly difficult in the double choruses but they carried the line with aplomb.

The sopranos proved to be clear and precise, with strongly held top lines. He smote all the first-born of Egypt and Thou sentest forth Thy wrath were noteworthy for their sensitivity.

The solo parts were unusually distributed. Clifford Lister revelled in the dramatic opportunities that the tenor part gives him and The enemy said was sung with fire and a final ornamental flourish which thrilled the audience. Counter-tenor Toby Foster was most at ease in the mellifluous Thou shalt bring them in and treble Raphael Janssens was an inspired choice for Thou didst blow.

There is not a lot for soprano in a very male-dominated work but Rachael Cox saved the best for last with her exultant cry from Miriam and leading a final chorus of bombastic enthusiasm which only Handel can inspire.

The Rochester Sinfonietta provided firm accompaniment, though the addition of two trombones to a Handelian band was a little startling. The continuo parts from Claire Innes-Hopkins, organ, and Adrian Bawtree, harpsichord, were apt and sensitive.

Scott Farrell has made a very distinctive impact in a difficult work. We can look forward to many more fine evenings – the next of which is on Saturday 8 November at St George’s Centre, Chatham Maritime, when we will hear Brahms’ German Requiem.