lietofinelondon

Posts Tagged ‘Mati Turi’

Northern Twilight

In Classical Music, Opera, Review, Richard Wagner on July 13, 2014 at 1:09 pm

Review – Götterdämmerung (Leeds Town Hall, Saturday 12 July 2014)

First Norn – Fiona Kimm
Second Norn – Heather Shipp
Third Norn – Lee Bisset
Brünnhilde – Alwyn Mellor
Siegfried – Mati Turi
Hagen – Mats Almgren
Gunter – Eric Greene
Gutrune – Orla Boylan
Waltraute – Susan Bickley
Alberich – Jo Pohlheim
Woglinde – Katherine Broderick
Wellgunde – Madeline Shaw
Flosshilde – Sarah Castle

Vocal Consultants – Dame Anne Evans & Sir John Tomlinson

Chorus of Opera North
Orchestra of Opera North

Concert Staging & Design Concept – Peter Mumford
Lighting & Projection Designer – Peter Mumford

Richard Farnes (Conductor)

The success of Opera North’s Ring cycle cannot be overestimated either in terms of ambition and vision but also – ultimately – artistic standards.

It’s to the Company’s credit and determination that they’ve delivered this cycle despite the initial media and public reservations and in a tough economic climate. And artistically, overall it has been a success.

What Ring cycle doesn’t have its weak links or moments of disappointment?

An incredible Das Rheingold was followed by a more disappointing Die Walküre and Siegfried but the final performance of Götterdämmerung in Leeds dissipated any previous concerns with playing and singing that was in the main superlative.

And superlative is the adjective best applied to the incredible playing of the Orchestra of Opera North.

Richard Farnes inspired some of the most luminous and rich playing I’ve heard in any Ring cycle. Not only was there a depth and volume to the strings but Farnes marshalled them with utter precision, and they responded accordingly to the ebb and flow of Wagner’s music. Wind and brass – from the opening chords – played with complete confidence, balancing the warmth of the strings with a bloom and – as required – piquancy that reverberated around the hall. And the percussion was every bit as committed. Never have the timpani beats, reminding the audience of Fafner and Fasolt, sounded so forbidding.

And as well as providing incredible support to the singers, the orchestra was very much part of the unfolding drama. From Siegfried’s journey down the Rhine to his devastating Funeral March, the orchestra provided an additional narrative of timbres and colours.

And in the podium, Farnes demonstrated a grip of the music and it’s overall architecture as he had in Siegfried. He had the sweep of the music firmly in his hands but didn’t allow it to swamp the finer details of Wagner’s score. While his departure from Opera North might be a loss to the Company itself, I sincerely hope that he will now be seen in other opera houses – and especially in Germany – where I think his talent and musicianship will be most welcome.

Of the singers, Alwyn Mellor as Brünnhilde was inevitably the focus of everyone’s attention. And rightly so. Following her appearance as Sieglinde in Opera North’s Walküre you have to wonder why Ms Mellor wasn’t cast as Wotan’s daughter for the entire cycle?

It was a very accomplished interpretation and performance. And I separate those two elements deliberately. Technically, apart from the occasional snatched note at the top of her range, Ms Mellor demonstrated that she has the heft and stamina for the role. And by stamina I don’t only mean that she can rise above the orchestra as required, but until the very end she demonstrated the ability to scale her voice right down. I always think it is a test of any Brünnhilde how she sings “Ruhe, ruhe, du Gott!”. The Immolation scene isn’t only one of volume, and this Brünnhilde showed that as well as providing the sheer volume, in the more reflective moments she could similarly project her vocal authority with eloquence. And in terms of interpretation, Ms Mellor revealed both the daughter of Wotan and betrayed wife of Siegfried. There was a convincing vulnerability to her characterisation, particularly at the beginning of the Second Act. But as a scorned woman she quickly revealed a steely determination before ending the opera once again as the daughter of a God – wise, forgiving and ultimately resolved to her fate.

And while Alwyn Mellor’s Brünnhilde – as with all Brünnhilde’s – will always be an evolving interpretation, her performance in Götterdämmerung suggests that she has it within her grasp to be a leading Brünnhilde.

I shall be looking out for her on stage in the future and I sincerely hope that Opera North have contracted her as all three Brünnhilde’s for their complete cycles in 2016. Indeed I hope one day to hear her as Isolde.

Mati Turi was pronounced slightly indisposed before the performance began. After my concerns about his pacing in Siegfried, clearly a solid technique helped him deliver a convincing performance in this final opera. If his singing felt was slightly ‘covered’ and less than heroic at times, it remained elegantly fluid and his narration in the Third Act was well nuanced and intelligently sung.

As Brünnhilde’s sister, Susan Bickley made for a totally convincing Waltraute. Having seen her most recently as Eduige in Rodelinda and Jocasta in Thebans, she brought her vast experience to bear on this small, yet pivotal, role. For a moment I almost thought she was about to convince Brünnhilde to return to Valhalla and thereby rob us of the rest of the evening. Fortunately they stuck to Wagner’s plan.

The three Rhinemaidens delivered some of the finest ensemble singing in these roles I’ve heard. Their voices remained distinct but melded beautifully, each displaying a keen ear in terms shaping their phrasing. And similarly Lee Bisset – an impressive Freia – returned as a vocally nuanced and confident Third Norn. I do wonder why we don’t hear her more in London?

Of the remaining roles, it was Alberich and his son Hagen who delivered the most convincing performances. In the dream scene, Jo Pohlheim instantly reminded us why he made such an impact in Siegfried. In signature black gloves, his resonant and darkly hued bass was matched by his acting ability. And like father like son in terms of Mats Almgren’s Hagen. The intonation and diction problems that affected his Fafner were nowhere to be seen in his performance as the Gibichung’s half-brother, sung with a malevolent and confident eloquence.

The Chorus of Opera North gave electrifying performances in the Second Act – diction clear, singing forceful yet clean and distinct.

As in her portrayal of Senta for ENO, I found Orla Boylan’s Gutrune rather hard-toned vocally. She has the heft and despite a tendency for her voice to spread at the top of her range, the technique but the edge in her voice diminishes any sense of gleam or warmth. But there was no doubting the passion and musicianship she invested in the role especially after Siegfried’s death. However, as her brother, Eric Greene’s Gunter was disappointing – vocally occluded and at times technically and musically strained.

Yet the sum of this Götterdämmerung’s parts outweighed its small disadvantages, making for a thrilling evening and fitting end to this ambitious project. And it seemed right and proper that Farnes and his incredible players received the loudest cheer and ovation at the end if it all.

Principally Flawed

In Classical Music, Opera, Review, Richard Wagner on July 7, 2013 at 9:59 am

Review – Siegfried (Opera North, The Lowry, Saturday 6 July 2013)

Siegfried – Mati Turi
Mime – Richard Roberts
Wanderer – Michael Druiett
Alberich – Jo Pohlheim
Fafner – Mats Almgren
Woodbird – Fflur Wyn
Erda – Ceri Williams
Brünnhilde – Annalena Persson

Vocal Consultants – Dame Anne Evans & Sir John Tomlinson

Staging & Design Concept – Peter Mumford

Orchestra of Opera North
Conductor – Richard Farnes

While Opera North’s Siegfried was an improvement on last year’s Die Walküre, it still remained far from a totally convincing performance on the whole.

It seems that the main impediment remains casting and like last year the strongest performances came from the singers in the smaller roles.

Jo Pohlheim’s performance as Alberich towered above the other male singers in the cast. His wonderfully dark, resonant base rose effortlessly above the orchestra and with diction was clear and precise making his characterisation of Alberich sharply etched. His repertoire includes both Wotan himself and Wozzeck and I would image that these would both be performances worth booking tickets for. Personally though, I didn’t get the gloves.

Fflur Wyn – who I admired in Opera North’s production of La Clemenza di Tito – continued to impress. She has a warm yet bright soprano with a vocal agility that made the role seemingly effortless as she glided through the Woodbird’s music. It’s a tricky role and perhaps Farnes could have given her a little more ebb and flow but it didn’t faze her at all. Definitely Ms Wyn is someone to keep and a look out for. Similarly Ceri Williams’ dusky and rich voice was perfectly suited to Erda and proved more than a match vocally for Wotan in the Third Act.

Problems with both intonation and diction marred what was otherwise a strong performance of Fafner from Mats Algrem who was of suitably pitch-black tone. Admittedly Fafner in Siegfried is a rather thankless role in Siegfried and I would like to hear either his Hunding or Hagen.

After Michael Druiett’s fine performance in Das Rheingold his Wanderer was disappointing. At the time I wondered if he had the heft for ‘later’ Wotan and sadly it proved he did not. A rather two-dimensional characterisation was not helped by a lack of both colour and depth in his singing on this occasion and more than once he was out-gunned by the orchestra despite Farnes’ sensitivity to an extent not suffered by the rest of the ensemble. Indeed at times the lower end of his range seemed to disappear altogether. Most tellingly, his confrontation with his nemesis Alberich left me wanting not so much a role reversal but two Alberich’s and no Wotan. His subsequent confrontation with his ‘grandson’ in the Third Act was only slightly alleviated by a slightly weaker than expected performance by Siegfried at that precise moment. Perhaps for the full cycle Opera North might consider casting Jo Pohlheim for the full cycle?

Similarly the reason for casting Annalena Persson as Brünnhilde continues to elude me completely. Even in this somewhat limited appearance, Persson was uneven in tone and distractingly shrill – almost squally – in her upper range. It seemed that she had forsake vocal accuracy for individual top notes that were less gleaming that brittle. Fortunately she is not cast in Opera North’s Götterdämmerung and having now seen two of her three Brünnhildes a year apart doesn’t fill me with confidence that this is a she should continue to sing.

And so to the two main protagonists.

I admired Richard Roberts’ original Mime in Das Rheingold. At the time I said it was no cipher yet in Siegfried while there were moments when that Mime re-appeared – for example just before his demise – for the most part it seemed to be missing for large parts of his performance. Vocally there wasn’t quite enough characterisation or colour and while his diction was good, he didn’t seem to revel in the particular German than Wagner scribed for this character much in the way that he wrote for Alberich.

And clearly Mati Turi has it in him to be a great Siegfried. One day. He received good notices for his performance at Longborough and there is no doubt that on the whole his Siegfried for Opera North was strong. However for me there was a question about his pacing of the role. Giving his all in the First Act, where his singing was full and round with beautiful phrasing and dynamic control, three quarters through the Second Act it did seem that his voice was tiring. And while the longer interval between the second and third Acts would have helped, his first entry in the final Act – his confrontation with Wotan – sounded for the most part snatched, almost as if he was deliberately saving himself for the closing scenes. And perhaps he was, because there was clearly a greater shine to his voice for most of his scene with Brünnhilde. Overall while his voice is clear and pretty even throughout its range, I did wont for a bit more light and shade and a more finely tuned interpretation of the role. All this I am sure is not far off and it’s a shame that he will not be singing Siegfried in next year’s Götterdämmerung.

Stage-wise, Peter Mumford continued with his smart – if now somewhat predictable – design concept. Seen a year apart they remain effective without being distracting, but I do wonder how quickly they will go from effective and non-distracting to tedious end-to-end when the complete cycle is performed over a single week or so.

But finally plaudits must go to Farnes and the Orchestra of Opera North. Farnes – bar a small slip in momentum during the initial meeting of the young lovers – had got to grip with the sweep and overall architecture of Siegfried. Tempos were well judged throughout and he pulled out the orchestral detail and allowed the leitmotivs to shine through without too much over emphasis. And this attention to detail resulted in some luminous playing from the orchestra and bar a single moment already mentioned, he was sensitive accompanist to the singers. And special mention must go to the Robert Ashworth for his exemplary solo in the Second Act, but throughout the ensemble playing was of the highest standard from start to finish. For example, the way Farnes singled out the harp line in the first act, and thebeautifully placed wind and brass chords just before Brünnhilde’s awakening.

Ultimately however this Siegfried continued to demonstrate similar fault lines – although not as deep – as last year’s Die Walküre. While Farnes’ grip of the third opera in the cycle was impressive, casting the principle roles remains Opera North’s biggest challenge. With Alwyn Mellor as their final Brünnhilde and Daniel Brenna perhaps they might have cracked it.

Subitolove

Until I feared I would lose it, I never loved to read. One does not love breathing.

Good Music Speaks

A music blog written by Rich Brown

Kurt Nemes' Classical Music Almanac

(A love affair with music)

Gareth's Culture and Travel Blog

Sharing my cultural and travel experiences

The Oxford Culture Review

"I have nothing to say, and I am saying it" - John Cage

The Passacaglia Test

The provision and purview of classical music

Peter Hoesing

...a musicologist examining diverse artistic media in critical perspective

OBERTO

Oxford Brookes: Exploring Research Trends in Opera