he KingMonteverdi ‘The Return of Ulysses’
Royal Opera House, Early Opera Company, Christian Curnyn
The Roundhouse. 10 January 2018
After the success of their 2015 production of Monteverdi’s Orfeo at the Roundhouse (reviewed here), the Royal Opera House returned with an English language version of Il ritorno d’Ulisse in patria, under the title of ‘The Return of Ulysses’. As its name suggests, the Roundhouse is a large circular building in Camden, North London, built in 1854 by a railway company as the Great Circular Engine House and used, albeit only for a few years, as a maintenance depot. It had a central turntable to switch engines into the surrounding maintenance bays. John Fulljames’s production for the Royal Opera House maintains the link with this central turntable with a doughnut-shaped staging with an outer raised ring for the singers with the orchestra in the central circle. Both rotated, the instrumentalists going very slowly clockwise (a bit slower than the hour hand of a watch) and the singers intermittently rotating anti-clockwise. on their circular stage.
Alex Roth: A Time to Dance
Ex Cathedra. Jeffry Skidmore
Hyperion CDA68144. 71’52
A Time to Dance; Magnificat and Nunc dimittis ‘Hatfield Service’; Men & Angels.
The Birmingham based choir, Ex Cathedra has long been at the forefront of British choral music, notably through their educational work and concerts and recordings of early music and Baroque music from Central and South America, a particular research interest for their inspirational director, Jeffry Skidmore. But they also venture into more recent repertoire, as evidenced by their latest CD of music by Alex Roth.
Commissioned for the Summer Music Society of Dorset for their 50th anniversary, the cantata A Time to Dance was first performed by Ex Cathedra in 2012. It is in four sections, representing jointly the seasons and the times of day, with an opening Processional and Prologue and a concluding Epilogue and After-dance, and lasts about an hour. Another quadruple influence is present in the opening Processional, based on the ‘For every thing there is a season’ passage from Ecclesiastes and its emphasis on times, seasons, love and dance. The remaining sections are based on 29 poems, ranging from Ovid via Donne, Herrick, Blake, and Yeats to the more recent Robert Bridges. The music is influenced by Shakespeare, Bach and Jeffry Skidmore, with whom the composer has worked over recent years. Continue reading
The Orchestra of the Age of Enlightenment continued their collaboration with The Globe’s new Sam Wanamaker Playhouse with an imaginative performance of Matthew Locke’s music for the 1674 production of The Tempest (or Enchanted Island), devised and directed by Elizabeth Kenny with stage direction and text adaptation by Caroline Williams. Following the Musica Brittannica edition, the music included additional pieces by Pelham Humphrey, Reggio, Banister, Purcell and Hart. The five OAE instrumentalists were joined by three singers, two boy trebles together with two actors who cleverly acted all the parts in the extracts from the rather curious version of Shakespeare’s play for which Locke provided the music. Despite the oddities of the text, this Tempest was extraordinarily popular at the time, with frequent revivals over the following 150 years. Although 21st century eyes and ears might not rate the play quite so highly, setting Locke’s relatively well-known music in the context of at least part of the spoken text and stage action does help with understanding the context of music like this. Along with Purcell’s examples, this repertoire is difficult to slot into the mainstream European musical tradition of the late 17th century. The Wanamaker Playhouse is a gloriously intimate space for such performances, the candle lighting added much to the atmosphere. This was a lively and, at times, very funny production, not least when one of the actors portrayed a sword fight by playing both characters at the same time. The impressive singers were Katherine Watson, Frazer B Scott and Samuel Boden.