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Stormin’ Norma

In Classical Music, Uncategorized on September 16, 2016 at 11:52 am

Review – Norma (Royal Opera House, Monday 12 September 2016)

Norma – Sonya Yoncheva
Pollione – Joseph Calleja
Adalgisa – Sonia Ganassi
Oroveso – Brindley Sherratt
Flavio – David Junghoon Kim
Clotilde – Vlada Borovko

Director – Àlex Ollé
Associate Director – Valentina Carrasco
Set Designer – Alfons Flores
Costume Designer – Lluc Castells
Lighting Designer – Marco Filibeck

Royal Opera Chorus
Orchestra of the Royal Opera House

Antonio Pappano (Conductor)

It’s an almost impossible as – to sing Norma at Covent Garden. All those ghosts in the wings. Replacing a colleague who’s much trumped assumption of the role failed to materialise.

But it was, in my opinion, a triumph.

Sonya Yoncheva not only ensured the ghosts remained firmly in the shadows but delivered a fine debut. Of course, there are elements that need working on – no interpretation remains static but with time Yoncheva’s will be Norma to be reckoned with. Vocally this was an assured performance – she didn’t shirk from the challenge of either the coloratura or the tessitura that was at the extreme of her range. She tackled them head on, and it made for a thrilling experience. She is also firmly in control of a formidable technique that allowed for the exploitation of the dynamic range that is often missing on any stage. Casts Diva – so early on that the expectation was almost tangible – packed the necessary punch. Yoncheva’s control of the vocal line, spinning it out over chorus and orchestra, was impressive. I’ve no doubt that even in the space of the remaining performances at Covent Garden she will relax more and more into the role and begin to experiment with vocal shade and colour. The opening of Act Two was equally thrilling. Her torment and anger spilled out across the auditorium as she vacillated between thoughts of revenge and maternal love. Yet it was that single, simple moment when she makes her fateful admission that sealed her debut performance. The stillness of it. Bellini’s knows drama. Yoncheva made it come alive.

And yet Yoncheva wasn’t alone in this endeavour. It’s something that I realized while listening to Netrebko’s latest and possibly defining recital disc – the influence of Pappano. He always been a fine conductor, always a singer’s conductor, but at this moment in time Pappano has become pre-eminent. The relationship – that elusive bond – between soprano and conductor was front and centre in a way that wasn’t as evident with the rest of the cast.

The rest of the cast was fortunately caught up in the eddies of that musical and interpretive association. Calleja, always a wooden actor, sprung more to life in the second act but his singing was not his best. A slow start and moments of strain distracted. Ganassi, despite formidable technique and a voice that produced some fine light and shade, seemed lost in that space. She truly came to life in the Second Act duet within Yoncheva. Sherratt’s Oroveso was the strongest of them all, carrying clearly above chorus and orchestra in the first act. His final act was unexpected and shocking. Denying his daughter not only a painful death, but robbing her, I thought quite cruelly of her dignity.

The booing for the production team honestly left me nonplussed. Set, so it seemed to me in an alternate version of Franco’s Spain, the clash of religious fervor and military might was undermined by a simple reversal of roles. Women, led by Norma, as Catholic priests. A simple ‘heresy’ that was effective in raising questions of God, power and ultimately equality.

A set constructed of crucifixes was offset by what I could only see as a crown of thorns made from the same crucifixes. Àlex Ollé is clearly deeply affected by his upbringing in some way – that clash in Spain between Church and State.

Unlike others, I didn’t find the set distracting. I found it effectively oppressive. I believe that was the intention. The opening scene of the second act, suddenly thrust us into the twenty-first century. A secular world at odds with Norma’s life. It was no mistake that this world sunk into the ground, and out of sight. It was a world that needed to remain out of sight. And mind. And the significance of Warership Down? A desire for freedom? An escape to a new life free from authoritarian diktat? Perhaps.

I’ve already mentioned that special bond between Pappano and his chief protagonist but his mastery extended to the orchestra and chorus. From the opening notes of the overture, the precision was impressive. But he reached into the score and found the colour and timbre needed. Strings were lush. Woodwind and brass striking out above them plangently.

All in all, a strong opening for a promising season.

 

 

 

Arts about tit.

In BBC, BBC Proms, Classical Music on September 8, 2016 at 12:44 pm

Why can’t the BBC ever get their commitment to classical music right?The latest blunder in quite a long line of missteps is their dedication of Saturday nights to the arts.

Laudable. To an extent.

Landing it on a Saturday night, a veritable ratings graveyard for BBC Two is simply an admission that they should stop competing. If they’d made a commitment to a midweek arts night, it would actually have demonstrated that Tony and his cronies are serious about putting arts at the heart of the schedule.

I suppose they didn’t want any risk – however small – of cannibalising their own ‘alternative’ schedule of baking, sewing and, no doubt at some point is in the future, celebrity candlestick making. 

It’s not that I don’t like poetry. Or Julie Walters for that matter. But, let’s be honest, do we really need to hear Kate Tempest darken this world yet another hip-hop version of someone else’s more original idea?

So in this cornucopia of the arts, where is the classical music?

Non-existent. You’ve got more chance of hearing a countertenor in X Factor.

What about the Proms, I’m sure the BBC will argue. Run by the BBC since 1927, it’s hardly new. And the very few concerts that are broadcast on television are on BBC Four. So basically relegated to the garden shed of television, just past the compost heap of BBC Three.

Young Musician? Similarly, a faux commitment to young talent sidelined because quite possibly unlike the endless programmes about young people making it in the ‘real world’, the BBC doesn’t consider an aspiration to becoming a world-class musician a ‘real job’.

The same for Cardiff Singer. A wholly missed opportunity.
And what about such ventures as Maestro at the Opera, or the new venture to find an amateur orchestra for the Prom In The Park? No. That’s not commitment. It’s badly oroduced entertainment and the BBC finding s way to simply fill their supposed arts quota with cheap fodder.

Sky Arts recently gave us the Bayreuth Ring. When was the last time the BBC gave us an opera? It’s been a while.

When will the BBC commit to an arts strategy that is meaningful and universal?

Rather than continuous slip of the banana skin of false intention to fall unceremoniously on its arse?

Probably never. 

Perfectly Don

In Classical Music, Mozart, Opera, Review on June 21, 2016 at 6:16 am

Review – Don Giovanni (Classical Opera, Cadogan Opera, Friday 17 June 2016)

Don Giovanni – Jacques Imbrailo
Leporello – David Soar
Donna Anna – Ana Maria Labin
Don Ottavio – Stuart Jackson
Donna Elvira – Helen Sharman
Zerlina – Ellie Laugharne
Masetto – Bradley Travis
Commendatore – David Shipley

The Philharmonia Chorus
The Orchestra of Classical Opera

Ian Page (Conductor)

It’s sometimes easy to forget that Mozart’s later operas are ensemble affairs. Of course he wrote stunning and psychologically insightful music for each protagonist, but it is in the ensembles that the music really comes alive. And I don’t only mean in Così fan tutte and Le nozze di Figaro but also Clemenza and Die Zauberflöte as well.

But it is in Don Giovanni – dare I say his greatest late opera – that the ensembles are truly magnificent. Not only defining the characters but literally driving the drama forward almost as if jet-propelled.

And all credit to Ian Page, Classical Opera and the eight performers that this was truly an ensemble performance. With the exception of a rather speedy La ci darem la mano, the arias were all performed beautifully – so beautifully in fact that I can (almost) forgive Mr Page for his purist approach and not giving us Mi tradi. But it was in the ensembles that the evening took on an even greater dramatic frisson that at the end of each act was palpable.

Page directed an energetic and colourful performance from the orchestra – the first notes of the overture, with the surprisingly timpani sound eradicated any risk of an ‘end of the week’ feeling in the audience. The woodwind in Madamina, il catalogo è questo buzzed over energetic string playing which was throughout meticulous and the brass barked threateningly both in the overture and in the final scene.

As Don Giovanni, Jacques Imbrailo might have been slightly too light vocally but what he didn’t have in total heft and the occasional wandering tonality in the occasional recitative he made up for with a strong and underlying threatening characterization and a deft way of singing the vocal line. And while David Soar relished this Leporello, never missing a beat, it was good to see Bradley Travis reprise a vocally strong Masetto in a stronger production that the recent one by ETO. Stuart Jackson, a regular performer for Classical Opera, performed a vocally impressive Don Ottavio – performing a confident and fluid Il mio tesoro, As the Commendatore, David Shipley rounded off an overall impressive cadre of men.

Ana Maria Labin led an equally strong line up of women, her bright and shining soprano demonstrating equally impressive flexibility. Non mi dir, bell’idol bio rightly got the loudest cheer from the audience.. The Donna Elvira of Helen Sharman was vocally distinctive from her noble counterpart, rich and seamless but occasionally slightly marred by distracting vibrato. But personally, I would have enjoyed to see her bring her dramatic talents to Mi trade. Ellie Laugharne’s Zerlina was suitably coquettish in both Batti, Batti and Vedrai Carino, although occasionally sharp in at the top of her range.

This wasn’t part of Classical Opera’s ambitious Mozart 250 project but it did reinforce what everyone at Cadogan Hall already knew. Ian Page and his ensemble are consummate Mozartians.

Can we hope that, having performed Don Giovanni in concert now, when it returns in a few years time it will be fully staged? I hope so, but regardless of how it does return, expectations from the remaining da Ponte operas will be very high indeed.

Classical Opera won’t disappoint.

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