Category Archives: Performance review – miscellaneous

How it Storms

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How it Storms; music by Allen Cole, libretto by Maristella Roca, is a chamber opera for four soloists and gamelan ensemble.  It was premiered last night at the Array Space and is co-production of Array Music and the Evergreen Club Contemporary Gamelan.  It’s a really interesting piece.  The libretto is allusive (at times even elusive) rather than being a straight forward linear narrative.  There’s a soon to be wedded couple, her sister and a very strange beggar.  There’s a hunting scene and a curse but what’s really going on is never entirely clear.  The libretto is beautiful to listen to with repetitive elements and non-English elements.  It’s clearly as much the work of a poet as a playwright(1).  Using gamelan to accompany this makes so much sense.  The instruments mirror, amplify and transcend the rhythmical, shimmering nature of the words.  The solo vocal parts too give the singers an opportunity to sing beautifully as well as tell the story.

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Eros and Thanatos

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Against the Grain’s Death/Desire opened last night at the Neubacher Shor Contemporary Gallery.  It’s structured around Schubert’s Die Schöne Müllerin cycle with the songs of Messiaen’s Harawi: Chants d’amour et de mort interpolated, though not in the usual order.  Thus there are two characters; The Man, singing the Schubert; who is very much the conventional questing lover of 19th century poetry, and The Woman, singing the Messiaen (mostly) who is something very different from the young girl of Wilhelm Müller’s texts.  The piece is staged with both characters on stage most of the time and interacting in ways that reflect the music and don’t.

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The Play of Daniel

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The Play of Daniel (Danielis ludus) is a 12th or 13th century Latin liturgical play from Beauvais in nothern France.  It appears in the liturgy for January 1st, The Feast of the Circumcision, and appears to have been an attempt to channel the traditional post Christmas disorder into more acceptable channels.  It was probably performed by the sub deacons of the Cathedral; young men in minor orders.  Alex and David Fallis have run with this setting and tried to create a piece that would evoke the same sort of reactions from a 21st century audience as the original did for those who saw it in Beauvais.  That’s a huge ask but, to my mind, they succeeded admirably.

Belshazzar - Olivier Laquerre (l) Noble – Bud Roach (r)

Belshazzar – Olivier Laquerre (l) Noble – Bud Roach (r)

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After Hours

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Last night’s late, late concert at the Conservatory was basically a preview of Bicycle Opera Project’s 2015 season.  It’s a bit hard to say what the final show will be like as we got mainly excerpts last night and it just feels really different to be in a formal concert hall compared with the usual venues for BOP.  bop

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Heroes, Gods and Mortals

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hymnThe Talisker Players’ latest show is pretty typical of what they do best; partner with some excellent singers and an actor to create an interesting program of words and music on a given theme.  Last night, as the title suggests, the theme was classical mythology; a rich enough seam for almost anything!  Most of the musical works chosen were twentieth century or later with only excerpts from a Pergolesi cantata harking back to an era that drew more heavily on these sources.

The first piece was Alan Hovhaness’ Hercules for soprano and violin performed by Carla Huhtanen and Elizabeth Loewen Andrews.  This was so very Hovhaness; haunting, disturbing and very beautiful.  It seems as rooted in the pre-classical world as the Heroic Age but perhaps that’s just a kind of timelessness.  It’s a perfect fit for Carla and the violin playing was beautiful too.

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Sing unto the Lord a new song

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Judith_Beheading_Holofernes_by_CaravaggioHubert Parry’s 1888 work Judith got its North American premiere yesterday in a performance by Pax Christi Chorale at Koerner Hall.  It’s a typical English high Victorian oratorio, commissioned by the Leeds Choral Society Birmingham Festival (Wikipedia strikes again).  It’s got some very grand choruses and some tuneful solos (one was later used for the hymn tune Repton setting the words “Dear Lord and Father of Mankind”).  If one like’s that sort of thing, and Peter Simple’s Alderman Footbotham of the Bradford Tramways and Fine Arts Committee would certainly have approved, it’s very enjoyable.  And if that’s not enough, there’s human sacrifice, seduction and murder to keep one’s interest.

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Führerbunker

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Andrew Ager’s Führerbunker is a short chamber opera depicting the events leading up to Hitler’s suicide in April 1945.  It’s a tautly constructed work in which many short scenes are woven into a seamless and compelling whole.  It flies by and its 45 minute length seems even shorter.  The score is spare, even brutal, as befits the subject matter.  The composer told me he had initially envisioned something Wagnerian but feared that that must descend into pastiche.  He made the right decision.  So, the piano line is minimalist with elements of serialism and very  little support for the singers.  It’s a style that has perhaps been largely discarded (in north America at least) but here it was startlingly effective.  Perhaps the crappy Tranzac Club piano contributed to the effect!

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In a handbag?

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One probably can’t go far wrong with an adaptation of Wilde’s The Importance of Being Earnest and the operetta, Earnest,The Importance of Being by Victor Davies and Eugene Benson doesn’t.  In fact it doesn’t go far from Wilde at all following the plot of the original faithfully and containing all the well known lines.  It means too, of course, that it has the flaws as well as the virtues of the original.  The first act can drag a bit as Wilde gets a bit too clever but t builds to a very effective second half which flies by.  The duet for the girls, To Speak With Perfect Candour is probably the best number in the piece.  Davies’ music too does not try to be too portentous.  It’s a bit of a pot pourri of styles with, at least, big band music, classical operetta, popular song of the period and what seems to be a nod to Andrew Lloyd-Webber.  It’s perfectly consistent with the text.  I don’t think though that there’s a single number that one would call truly hummable.

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The Futile Precaution

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Yesterday lunchtime the Ensemble Studio gave us a preview of their upcoming performance of the Barber of Seville.  The production, of course, will be the one currently on stage at the Four Seasons Centre and there were clear echoes of that in the way yesterday’s event was put on though they also played with the fact that Almaviva will be split between Andrew Haji and Jean-Philippe Fortier-Lazure with much pulling and pushing into place.

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Much Ado

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11160680_986649388020560_2336906169017147576_nI really wasn’t at all familiar with Berlioz’ Béatrice at Bénédict before last night’s opening of a production by Metro Youth Opera at the Daniels Spectrum.  All I knew was that it had something to so with Shakespeare’s Much Ado About Nothing and a reputation for being rather tedious.  For the record it’s basically the Shakespeare play shorn of all the darker elements; no Don John, no fake funeral, resulting in a RomCom in which the title characters, after much verbal sparring,  are finally brought to admit that they are in love and get married along with Claudio and Héro.  Further compressed a little (Somarone is axed) for this production it runs a pleasingly untedious two hours or so.

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