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About operaramblings

Toronto based lover of opera, art song, related music and all forms of theatre.

Can’t get no Atisfaction

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Despite also featuring William Christie, Les Arts Florissants and François Roussillon, the 2004 Châtelet production of Rameau’s Les Paladins could hardly be more different from the recording of Lully’s Atys that I reviewed yesterday.  The work is based on Orlando Furioso and is an utterly anarchic parody of pretty much everything that Rameau had previously written.  It was considered shocking in its day.  The production by José Montalvo with choreographic help from Dominique Hervieu is completely mad and tremendous fun.

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L’opéra du roi

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Lully’s Atys was, apparently, Louis XIV’s favourite opera.  It’s not hard to see why.  Within the rigid conventions of its time and place it really is rather fine.  The plot is classical and convoluted.  After an allegorical prologue celebrating Louis’ successful winter campaign in the Low Countries we get the story proper.  The hero Atys loves the nymph Sangaride, daughter of the god of the river Sangar, who returns his affection  She is betrothed to Celenus, king of the Phrygians.  The goddess Cybèle fancies Atys and makes him her high priest.  Atys uses his position to nix the wedding which upsets both Cybèle and Celenus. Cybèle blinds Atys who kills himself but is immortalised by being turned into a tree by Cybèle.  All of this takes over three hours with lots of ballets and other set pieces.  The music is French 17th century court music so it’s a bit unvaried but much of it is very fine indeed.

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Notable today

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There’s a long and interesting review by Philip Hensher in today’s Guardian of A History of Opera by Carolyn Abbate and Roger Parker.  There are more than a few stock clichés but he does have useful things to say about the reason opera might, but shouldn’t, be relegated to a museum piece.  In any event, it’s good to see a major daily giving space to a thought piece about opera.

There’s also a related piece by Leslie Barcza over at barczablog.  He looks at why we owe it to ourselves to engage with the director’s vision of an opera and should avoid useless and pejorative epithets likes “Eurotrash” and even “Regie”.  It’s the best contribution to that endless debate that I’ve seen in a while.

RIP Galina Vishnevskaya

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Galina Vishnevskaya in 1962I’ve just read the news of the death of Galina Vishnevskaya.  I’m taking it a bit hard because she was an important part of my education in classical music.  She, of course, created the soprano solo role in Britten’s War Requiem and was also a notable performer in the premiere of Shostakovich’s 14th Symphony.  Both of these works meant a great deal to me as a teenager and still do 40 years later.  There’s a good obituary in the Guardian. 

All change!

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The COC announced a bunch of line up changes for the upcoming winter and spring runs this morning.

  • Johannes Debus replaces Jiří Bělohlávek, who has health issues, as conductor for Tristan und Isolde.
  • Daniel Cohen will conduct La clemenza di Tito instaead of Debus.
  • Michael Baba replaces Burkhard Fritz as the ‘B’ cast Tristan.
  • Hanna Schwarz replaces Julia Juon as Herodias in Salome.

No reasons were given for the withdrawals of Fritz and Juon.

Una opera in maschera

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I despair.  I really do.  Yesterday’s MetHD broadcast of Verdi’s Un ballo in maschera had so much going for it.  The singing was brilliant and David Alden’s production seemed to have plenty of interesting ideas.  I say “seemed” because we only got the briefest of brief glimpses of it in between the succession of close ups served up by video director Matthew Diamond.  On the odd occasions we got to see more than a head or a body it was usually from a weird angle.  It’s particularly irritating because the two elements of the production that seemed to be most important were the ones most ruthlessly undermined.  Alden’s movement of chorus, supers and dancers and the contrast between what they do and what the principals do seems to be important but who knows?  Similarly his use of contrasting spaces, especially in Act 3, is obviously important but when the viewer gets only a couple of seconds to establish the context before the camera moves in and loses it the effect is fatally weakened.

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The Brothers Grimm hits 500

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Dean Burry’s opera for children The Brothers Grimm had its 500th performance last night at the shiny new Ada Slaight Hall at the Daniels Spectrum in the revitalised Regent’s Park neighbourhood.  It’s a work that premiered in 2001 and has been a staple of the COC Ensemble Studio School Tour ever since.  It’s played an important role in developing young Canadian singers as performers as evidenced by the fact that the original cast brothers were Joseph Kaiser and David Pomeroy.  500 performances!

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Full of sound and Furies

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When I first encountered Richard Strauss’ Elektra as a teenager I found the music almost unbearably harsh.  The more I listen to it the more erroneous that judgement seems.  It has its “tough” moments to be sure.  How could an opera about Elektra not?  But it is also full of lush romanticism and there are some really quite lovely passages.  In the 2010 Salzburg Festival recording Daniele Gatti explores both sides of the music in a rather thrilling reading of the score aided and abetted by the Wiener Philharmoniker and a pretty much ideal cast.

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Shout out to Washington

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Rihab Chaieb and Mireille Asselin

Rihab Chaieb and Mireille Asselin

In February I attended a brilliant lunchtime concert of vocal music by Kaija Saariaho sung by three singers from the COC Ensemble Studio.  I wasn’t the only one who was impressed.  The composer was so taken with the standard of performance that she has arranged for them to perform a slightly different selection of her works in Washington DC in February.

If you aren’t from Toronto or Montreal (or perhaps Paris, Lyon, Dublin or Belgrade) you probably haven’t heard much about Mireille Asselin, Rihab Chaieb or Jacqueline Woodley (except maybe on this blog) but you will!  Strongly recommended both for the music and the singers.