Philip Glass: Orphée
English National Opera, Geoffrey Paterson
The Coliseum, 15 November 2019
The last of English National Opera’s quartet of operas based on the Orpheus myth was Philip Glass’s 1991 Orphée. As was apparent with the three earlier operas, the story of Orpheus, like all such myths, are open to many different interpretations. Glass used Jean Cocteau’s 1950 film Orphée as the basis for his opera, setting the text of the film to music. Both Cocteau and Glass approached their pieces after the death of close friends/partners, and their telling of the myth hovers between the world of the living and the dead, revealing the perils of artistic self-obsession and immortality. Continue reading
Gluck: Orpheus and Eurydice
English National Opera, Harry Bicket
The Coliseum, 31 October 2019
Gluck’s Orpheus and Eurydice was the third of the current English National Opera (ENO) series of four operas based on the Orpheus myth that I saw, although it was the first to be performed in the series. It was also the earliest of the series, the most telling omission being Monteverdi’s 1607 L’Orfeo. In a nod to the Berlioz anniversary year, Orpheus and Eurydice was performed from the 1859 edition by Berlioz rather than Gluck’s own 1762 Vienna score or his 1774 Paris revision.
English National Opera
The Coliseum, 22 March 2017
Partenope is an entertaining, if over-long, venture into cross-dressing, disguise, sexual and political intrigue and, at least in the original 1730 production, some impressive special effects, including a battle that employed a stage army. The story is a slight, but attractive one, with scope for drama, betrayal, intrigue, humour and sexual goings on.
Partenope is the Queen and mythological founder of Naples, who legend believes was also one of the Sirens who attempted to lure Odysseus onto the rocks. She has three admirers: Arsace, Armindo and Emilio. As the opera opens, her favourite, Arsace, is surprised to see his former lover (Rosmira) turn up disguised as a man (Eurimene). As a man, Eurimene becomes a rival for the Queen’s affections whilst, as a women and only recognisable to Arsace, she proceeds to mock and goad Arsace to the extent that the Queen demands that they fight a duel. Arsace, wanting to reveal Eurimene’s true identity, demands that they should both fight topless. Unfortunately for the dirty old men in the audience, Eurimene gives in at this point and reveals herself as Rosmira.
This was the first revival of Christopher Alden’s 2008 production. It is set in 1920s Paris around the complex interconnected lives of surrealist artists and the exotically (and erotically) wealthy. Continue reading
Haydn: The Creation
Handel + Haydn Society, Harry Christophers
CORO: COR16135. 51’39+46’36
Sarah Tynan, soprano; Jeremy Ovenden, tenor; Matthew Brook, bass-baritone
Boston’s Handel + Haydn Society gave the first US performance of Haydn’s The Creation in 1819, just three years after their foundation, having performed Part One in their first year. Their name (at the time, a representation of their interest in ‘old’ and ‘new’ music), has a resonance with The Creation. It was Haydn’s response to hearing Handel’s Isreal in Egypt and Messiah in the 1791 Westminster Abbey Handel Festival, with a large choir and orchestra of more than 100 people. Two hundred years after their foundation, the Handel + Haydn Society’s bicentennial season ended with two performances in Boston’s Symphony Hall, Boston on 1 and 3 May 2015. This double CD is a live recording of those performances. I didn’t detect any audience noise or other potential live recording mishaps, but certainly detected the thrill and exhilaration of live music making. It bubbles over with the energy and vitality of a live performance, rather than a carefully crafted studio recording. Continue reading