Small-scale opera is a thing nowadays, not surprising given the economies involved. Lots of popular classics have been doing the rounds - La Boheme, Carmen, La Traviata, G&S, etc., as well as arrangements of less mainstream works. Anything to get opera out and about and attract new audiences everywhere is to be greatly applauded. But it has to be admitted the resulting musical experience without orchestra and choruses is likely to be underwhelming compared to the experience that was intended. Just as we like ‘Early Music’ to sound right with period instruments, so grand opera needs to be savoured as the ‘real thing’, performed by the forces and in the spaces it was written for. But it’s worth noting that theatres in the 17th and 18th century (1000 seats) were nowhere near as large as those built in the 19th century (around 2000 seats) - and these are dwarfed by the monster new-builds and extensions of the 20th (3000 to 4000 capacity). In these auditoria, most spectators are distant from the stage, many spy on the performance through opera glasses and typically listen with acoustic enhancement (amplification) even if they’re not aware of it. By contrast, small-scale opera in intimate venues allows the audience to feel close to the stage and feel more involved in the drama. Clearly, voices don’t need to be so large (and wobbly) and don’t have to strain; they can, more often than not, sound more detailed and beautiful. The challenge we face, therefore, is to create new, tailor-made, small-scale works that appeal to audiences everywhere and enhance the repertory of sung dramas that are so powerful and compelling.
A project in the autumn and winter lockdowns recently has been to finish another Lorca setting. My operatic version of Así que pasen cinco años I've called In Five Years' Time, which seems a more natural translation than 'When Five Years Have Passed'. Death is a theme of the play and very much in the headlines right now.
Written before the pandemic outbreak, this could hardly have been more timely. A rhyming libretto by Leo Doulton at first had me stumped: how could such a doom-laden scenario be treated as a 'comedy of manners', as he put it?
I went to see Music Theatre Wales' production of The Golden Dragon in Basingstoke recently. This is a production which has caused some controversy because of its ‘yellowface’ casting.
Attended a performance last night of Le Grand Macabre at the Barbican, London. An immensely good performance and riveting from start to finish. It was great to have the London Symphony Orchestra on stage, which meant we could relish the score's fabulous textures which bristled and shimmered and hooted and blasted and everything in between.
A single remaining, inexpensive amphitheatre seat tempted me to venture to Die Frau ohne Schatten at the Royal Opera House yesterday afternoon.
Recently attended an operatic relay from Royal Opera House in the local cinema. Heard much about these events and wanted to experience one for myself, but I have to admit I was dreadfully disappointed.
I must catch up with some more operatic experiences this year: there was Glass' A Perfect American, whose music was much less absorbing than that of Akhnaten or Satyagraha and whose subject was not very interesting. If Walt Disney had no redeeming qualities, how was the opera going to yield any insights into the human condition? Apart from an entertaining production, the work itself seemed pointless.
Lohengrin in Cardiff was visually depressing - a nineteenth century prison? - but the music won out in any case. Brought back many memories of one of my first tasks at the Royal Opera House when I joined the staff there: coaching the chorus was hampered by constant strikes in those medieval, pre-Thatcher times and it was touch-and-go whether the music could be learnt in time. No such worries with WNO - the chorus were spectacular and so were the cast and orchestra. The clarity and directness of the music when performed well like this are very refreshing in comparison to Wagner's later works.
Wagner Dream by the late, great Jonathan Harvey was, unfortunately for me, impenetrable. Multi-layered, complex and very dissonant. The work was definitely not helped by having the main action spoken by actors, a disappointing decision since too much dialogue, here accompanied by the orchestra, simply shows up opera's weaknesses: better for the music to stop so you can concentrate on the dialogue and the acting. Or you could take the view that the spoken text pales in comparison to the sound of the singing voice - since, after all, we came for the music.
Eventually caught up with The Minotaur at ROH last night. I would hardly call it a pleasurable experience. The opera threw all sorts of other great things at me in abundance; but sheer pleasure was not one of them. Most operas give pleasure and have done so for ages; I guess the relentless atonality - and the largely declamatory style of singing that goes with it - conspired to deprive me of, well, operatic rapture. Why should this be so? And does it matter anyway? It certainly held my attention - it was compelling, awesome you might say - so it must have succeeded. But it was like beholding a brutalist piece of modern architecture which you somehow feel has been built by architects for architects, rather than for ordinary people to enjoy and marvel at. You can't deny the originality or scale of achievement. But it doesn't give you much pleasure.
Can't help but compare The Minotaur with A Flowering Tree (written within a year or two of each other). I reckon AFT would be reckoned by most as quite a 'difficult' modern opera, and in fact it seems TM has received more performances. Both works are original and up-to-date and inventive. But AFT has an additional dimension: the beauty of sound and of singing.
The Treasure and a Tale tells the stories of Beowulf and the discovery of an Anglo-Saxon ship burial and its treasure at Sutton Hoo in 1939.
Suitable for school or community performance
Although conceived as musical theatre, the emphasis is on telling the Beowulf story through rhythmic recitation accompanied by drumming. With the exception of the Gleeman, who has a challenging solo part, the singing roles are introduced by way of reported speech and so may effectively be taken by everyone acting as Storytellers.
By way of contrast, the scenes are separated by spoken interludes which tell of the finding of the treasure in Suffolk against the background of World War II, sketched briefly through the eyes of local children and an evacuee. There is, of course, no direct connection between Beowulf and the treasure from Sutton Hoo; yet they have in common the society that created them and each brings the other vividly to life.
Composer and musician