BBC PROMS: Janáček’s The Makropulous Affair - Karita Mattila ★★★★★

 Eva Štĕrbová, Jan Vacík, Gustáv Beláček, Kartia Mattila, Aleš Briscein and Svatopluk Sem perform under the direction of Jiří Bĕlohlávek at the BBC Proms 2016. (BBC/Chris Christodoulou.)

If you had the chance to live for three centuries would you take it? This is one of the questions you may ask yourself after an evening of witnessing the suffering of Emilia Marty - a beautiful opera singer with a world of knowledge that goes far beyond our time. Leoš Janáček’s (1854 – 1928) Makropulous Affair was performed semi-staged last night at the Royal Albert Hall, after more than 20 years of absence from the BBC Proms, by the BBC Symphony Orchestra with its former conductor Jiří Bělohlávek, an all-round talented cast of Czech soloists and the radiant Finnish soprano, Karita Mattila.

Mattila is no stranger to Janáček as she has performed many lead roles from the Czech composer’s work, which includes Katya Kabanova, Jenůfa and most recently the Kostelnička – one of opera’s villainous evildoers – at the Royal Festival Hall with the Czech Philharmonic Orchestra this April. 

Soprano Karita Mattila performs in Janáček’s The Makropulos Affair at the BBC Proms 2016. (BBC/Chris Christodoulou.)

Originally influenced by the play written by Karel Čapek, the opera begins in 1922 at Dr. Kolenatý’s office where a clerk Vítek is fussing over papers for a century-long family case, where Baron Josef Ferdinand Prus’s estate is challenged by Ferdinand Gregor. Yet, what may seem a like a legal battle between families swiftly turns into a puzzling mystery over Emilia Marty’s acute knowledge of Baron Prus and Ferdinand Gregor. 

By the final act, in a tense and dramatic dialectic, where words and ravishing music is revealed, we discover that Emilia Marty is, in fact, Elina Makropulos - the daughter of Emperor Rudolf’s Greek physician who was ordered to test his elixir of life to his 16-year-old daughter. Through the generations, she has changed her name with the same initials EM – Eugenia Montez, Elsa Muller, Ekaterina Myshkin, Ellian MacGregor – and finally, she finds solace in her last days aged 337.

When Matilla comes to town it is always worth trying to wangle a ticket to see her - last night was no exception. Her empowering stage presence in a dashing red dress captured the complexity and seductive qualities of Emilia's character. Singing as the revered opera singer, she laughed and humoured those around her including young, aspiring singer Kristina. She also titillated and enticed many men such as Janek, Prus’s son, who commits suicide for her love, and Prus himself who she leaves feeling cold. Mattila’s voice, however, is bold and animated as ever. She manages to hold out and show the best part of her vocal prowess until the very last scenes where all is revealed, and her identity is exposed. 

Tenor Aleš Briscein performs in Janáček’s The Makropulos Affair at the BBC Proms 2016. (BBC/Chris Christodoulou.)

The cast also deserves credit for giving a grand picture of this contemporary opera, which takes place in various locations; a lawyer’s office, the backstage of a theatre and a hotel room. Given the lack of scene changes or props provided, the extraordinary cast succeeded in bringing the story to life. Aleš Briscein (Gregor), Gustáv Beláček (Dr Kolenatý) and Svatopluk Sem (Baron Jaroslav Prus) sang with richness and depth as Emilia’s pawns in the legal battle over a will that had more than they had ever dreamed of. With smaller roles sung by Jan Vacík (Vítek), Aleš Voráček (Janek), Jan Ježek (Hauk-Šendorf), Jana Hrochová Wallingerová (Chambermaid) and Jiří Klecker (Stage Technician) as part of the comedy features, which balance out the opera seria at the opera's conclusion. This leaves soprano Eva Štěrbová as the curious and sweet-tone Kristina, the benchmark to Emilia’s beauty.  

Jiří Bĕlohlávek conducts the BBC Singers and BBC Symphony Orchestra in Janáček’s The Makropulos Affair at the BBC Proms 2016. (BBC/Chris Christodoulou.)

There is no question that Jiří Bělohlávek felt at home with the BBC Symphony Orchestra - his knowledge of Janáček’s music is visible through and through. There is a cinematic and dream-like quality about Janacek’s score, here, that is spellbinding and easy to love. The BBC Symphony Orchestra was also superb. They seemed comfortable with the challenges of the music particularly since there isn’t a specific aria to remember, yet this is the charm of the opera. The final scene is the most devastating and ardent, where the stage went green and Emilia sang with her last breath. 

If you would like more information about the BBC Proms and future events, please click here: http://www.bbc.co.uk/proms

BBC Proms: Glydebourne: The Barber of Seville ★★★★

Taylor Stayton as Count Almaviva and Alessandro Corbelli as Dr Bartolo in Rossini’s The Barber of Seville at the BBC Proms 2016
Copyright: BBC/Chris Christodoulou

Glyndebourne has returned to the Proms for Rossini’s mad opera of disguises and shaved beards, where the smiles and double entendres never seem to end. It is the first time that the BBC Proms have added The Barber of Seville to its programme, performed as a semi-stage presentation, and as last night highlighted it proved to be a spectacular night of giddiness, charming music and theatrical comedy.

The opera, based on the first of a triology of plays by Beaumarchais, follows the journey of the Count (Taylor Stayton) as he seeks means to claim his love Rosina (Danielle de Niese), yet her brutish bore of a guardian Bartolo (Alessandro Corbelli) intends to marry her, and keep her for himself. But then, there is Figaro (Björn Bürger) – he’s the fixer. Together with the Count, Figaro assists him in his mission for love whilst getting themselves into numerous silly mishaps.

Both lead characters Figaro and the count, performed by Bürger and Stayton, are confident and animated - they play off well together. Vocally and theatrically they make a good duo, like jumping into each other’s laps, and harmonise with poise and lyricism. Corbelli gave a mighty and hilarious performance as the curmudgeon Bartolo, and was a great sport at it. In certain parts Corbelli had to sing fast and his vocal skills and timbre may have been compromised, but there’s an edge to his talents which makes him completely likable and amusing to watch.

Danielle de Niese as Rosina and Alessandro Corbelli as Dr Bartolo in Rossini’s The Barber of Seville at the BBC Proms 2016
Copyright: BBC/Chris Christodoulou

Niese, the wife of Glyndebourne’s chairman’s grandson, envisions Rosina to be a strong-willed cheeky flirt with eyes only for one man Lindoro, who the Count disguises himself as. Although her Rosina may bat her eyelids and appear tied to Bartolo's chambers, Niese assures the audience that Rosina has a spirit that wants to run free, away from a restricted married life with Bartolo's crankiness. Her Una voce poco fa was dynamic and entertaining; it called for a huge round of applauses as her voice was loud enough for the Royal Albert Hall to hear, yet I’ve heard stronger performers of Rosina’s pinnacle aria elsewhere. As she specified in an interview with Rebecca Franks, she is aware that Rossini wrote some parts of the opera for ‘super-high ranges’ and as she is a lyric, not coloratura, soprano, who sticks with the mezzo-soprano range, this inevitably causes some challenges for her.  Nonetheless her performance was an impressive one, which enthralled prommers, including the male prommer who she ran to – she gave him a quick kiss on the cheek and jumped back on the stage again (well, that’s what I gathered from my seat).

Italian conductor Enrique Mazzola provided Rossini’s sweet scented score with a dash of stage pizazz. This was light-heartedly performed by the London Philharmonic Orchestra demonstrated through delightful harps, graceful clarinets and lively strings which enchanted prommers. Mazzola and the LPO also played a part in the storyline frolics too, by breaking the fourth wall; passing Rosina’s love letter to the Count and Mazzola having fun with the grumpy Bartolo who seemed to think he knew more about music than the maestro.

Conductor Enrique Mazzola and Alessandro Corbelli as Dr Bartolo in Rossini’s The Barber of Seville at the BBC Proms 2016
Copyright: BBC/Chris Christodoulou

Joanna Parker’s costume designs seemed to set our opera somewhere in Seville in the 17th century, with vivacious and handsome colours yet there were slices of the modern shown through Stayton’s cool full-length jacket and Niese tightly fitted, glamorous dresses. 

Director Sinéad O’Neil's staging is a simple yet effective one. The performance at the Royal Albert Hall was clean, witty and infectiously fun. To think that the premier of the opera was a sham in 1816 baffles me as performances like last night, where there's a joke hidden in every corner of the staging, verify why The Barber of Seville is a popular masterpiece  - not only composed to entertain opera newbies. 

Danielle de Niese as Rosina, Björn Bürger as Figaro, Taylor Stayton as Count Almaviva and Janis Kelly as Berta in Rossini’s The Barber of Seville at the BBC Proms 2016

Copyright: BBC/Chris Christodoulou

If you would like more information about the BBC Proms and future events, please click here: http://www.bbc.co.uk/proms

Opera at a Glance in 2015

Here it is.

I saw sixty-four operas this year and reviewed fifty of them. My opera reach was limited to London this year, however, as you can see there was a ton of tremendous performances. I've selected a handful of operas that really made it my year.  



Fringe Opera Favourites for 2015: (Click here)  

My favourite Theatre shows for 2015: (Click here)

Beethoven's Symphony No. 9 : Alan Gilbert conducts Leipzig Gewandhaus Orchestra for the BBC Proms 75

I had no intention of reviewing Prom 75, the penultimate night before the BBC Proms ended but how could I stop myself? It was Beethoven's Symphony No. 9: the Choral, which as much as it has been over played at international halls since the 1824, hasn't become stale... ever. To put it bluntly, it's just a bloody good symphony. Last year, I saw the Philharmonic orchestra perform with the London Symphony Chorus (who also performed this evening) at the Barbican Centre as part of the Raymond Gubbay tradition, and I still recall fond memories.

All attempts to buy return tickets were out-of-bounds and stall seats were still unaffordable. Alas, at such short notice, I ran to the Royal Albert Hall and stood in the proms arena queue just after 2 o' clock. When it came to 7 o' clock, revellers were dusting themselves off from the September sun filing up the spaces of the 6000-seater auditorium. Prommers were slowly edging into the stage and there sat above the orchestral stage were the multiple choir members (or as I'd like to call them, 'the angelic voices') of the Leipzig Opera Chorus, Leipzig Gewandhaus Choir, Leipzig Gewandhaus Childrens Choir and London Symphony Chorus - phew, that's quite a mouthful.

View as a 'prommer'

The Leipzig Gewandhaus Orchestra graciously entered the stage shortly followed by the half Japanese, half American conductor Alan Gilbert. Gilbert, originally a violinist, is currently the musical director of the New York Philharmonic who stepped in last moment as Italian conductor Riccardo Chailly, who has conducted the Leipzig Gewandhaus Orchestra numerous times, had to 'withdraw' due to medical reasons.

To begin the evening was Austrian composer, Friedrich Cerha's Paraphrase on the Opening of Beethoven's Symphony No. 9 which is a piece I'm not familiar with. Yet, it gave me the same unwavering feelings I get when I'm not entirely united with a piece. With all my optimism focused on the headline of the show - hearing xylophones mimic doorbells that descend into a tumultuous caution song of stringent percussion and clashing brass instruments -  Paraphrase wasn't the most ideal piece to perform. Yet, on reflection it made Beethoven's 9th look better. The prolonged stillness of the strings at the very end led to a long silence; the audience wasn't sure when to clap.

Alan Gilbert conducting the Leipzig Gewandhaus Orchestra (BBC PROMS photos)

The crux of the matter

The first movement's Allegro ma non troppo was full of sustenance, spirit and precision through our mighty conductor. From the arena below, I felt the sonata's bass lines from the cellos under my feet and although considered by some to sound like orchestral tuning, the Leipzig Gewandhaus orchestra knew exactly what they were doing. 

The second movement's Scherzo was just as vibrant and genuine as the first where trombones and timpani unleashed their unique qualities. At times, I noticed unexpectedly from Gilbert that he'd lower his baton and make smaller hand gestures closer to his chest. I wasn't sure if he was just tired or simply saving his energy for the presto in the fouth movement. Nevertheless, at the coda his unflagging baton came out again.

Leipzig Gewandhaus orchestra played songs that sounded like spring as they calmed down after the calamity in the first two movements. This was portrayed through lullaby-esqe flutes, swooping strings that plucked and soared. After feeling like we've just left a Latin mass, the audience came together in universality with Beethoven, Leipzig Gewandhaus, Gilbert and the choir singers, particularly the red jumper wearing Childrens Choir.

The forth movement was expectantly sturdy, loud and exuberant. The audiences knew 'Ode to Joy' too well that they clenched their fist and shook them discreetly to the valiant drums, especially when the skilled ‘angelic voices’ sung 'Ihr stürzt nieder, Millionen?' Christina Landshamer, Gerhild Romberger, Steve Davisliy and Dmitry Belosselskiy's honey soaked voices put the icing on the cake. Belosselskiy introduced the fugue holding onto every deep note with Davisliy seasoned timber as he moved his body to the tone of his joyful voice. 

Gilbert was firm, swaying to Beethoven’s music and moving one side to the other. One moment he'd open his arms wide to the choir singers with a smile and then quickly hunch down to the orchestra with a stern face, hands close together, as he directed the violins to repeat the presto piece.

With four call backs for the quartet and Gilbert, and a standing ovation from me, - well, I was already standing in the arena - I don’t believe even half of the people in the Royal Opera House had ever experienced a Beethoven’s 9^th symphony like it. I mean that in a good way. 

 

This prom took place on Friday 12th September. Click here for more information.

BBC Prom 59: Richard Strauss' Elektra **** [FOUR STAR]

BBC Symphony Orchestra (BBCSO) and conductor, Semyon Bychkov

 BBC Prom 59 [Sunday 31^st August] was dominated by Elektra (1909); the second of the two so-called  psycho-pathological operas of Richard Strauss following a lusty and staggering performance of Salome the night before [see link below.] Christine Goerke took center stage making her prom debut as the menacing and evil daughter Elektra while 120 musicians of the BBC Symphony Orchestra (BBCSO) gave a steadfast and prominent performance conducted by the seamless and precise Semyon Bychkov who is well-versed in Strauss' work.

It was in 1903 (or 1904 according to some musicologists) that Strauss had attended a performance of the poet Hugo von Hofmannsthal’s play Elektra that spurred them to work collaboratively - for the first time - and transform it into an opera. Set in antiquity, it follows the terrifying path of a troubled daughter, Elektra who seeks revenge for her father’s bloody murder. 

Elektra is imbued with turn-of-the-century themes such as dreams, psychoanalysis, sacrilegious rites, and inklings of lesbian incest from the original works of Sophocles. However, there is no official source that suggests, either, Hofmannsthal or Strauss were familiar with Sigmund Freud’s work. 

The immediate entry into the opera involves - almost - all instruments diving in with dissonance and tension which presents the omnipresent and looming dead father similar to Mozart’s Commendatore in Don Giovanni.  The BBCSO had its largest orchestral size comprising of up to eight horns, eight clarinets including two rare basset horns and a full assembly of percussion instruments.

Although filled with glaring stress and intense musical chords underpinning the instability and uncertainty of the tale of Elektra, there are harmonies fully illustrating by the BBCSO, such as D minor for Orestes, Elektra’s lost brother sung by Johan Reuter, and E flat for Chrysothemis, their slightly subdued sister performed by Gun-Brit Barkmin. In this evening’s performance, compared to the last, all singers memorised their lines and brought primed distinction and verve to Justin Way’s semi-stage.

(Left to Right) Johan Reuter, Dame Felicity Palmer, Gun-Brit Barkmin and Christine Goerke

Goerke had already sung the same role at the Royal Opera House last year which made her the optimum choice for the BBC Proms. Her vocal agility was unflagging and constant; one could hear the killer instinct of a tormented Elektra throughout. While her voice echoed, from where I sat in the Royal Albert Hall (RAH), her music still towered over. 

Barkmin also moved the audience being Elektra’s docile, yet spirited sister as a strong soprano. She didn’t, however, match Goerke's prowess, particularly at the last scenes were their voices seemed to clash. Yet, irrespective of this, Barkmin still held on until the very end despite how vocally demanding her role was.

Dame Felicity Palmer as Elektra’s mother, Clytemnestra entered in like a Hollywood star in a diamanté queen’s black robe to resemble a superstitious and guilt-stricken mother. Palmer’s fashion was fitting as her previous experience as Chytemnestra shone through and peaked; it was a delight to hear her and see her on stage as Goerke’s antagonist.

Reuter also showed a full-proof Orestes in the musical climax scene with Elektra. Although Robert Künzli as Clytemnestra lover, Aegisthus and Jongmin Park as Orestes’ tutor had smaller roles, they still managed to prove their merits as operatic performers while the five maids (Katarina Bradić, Zoryana Kushpler, Hanna Hipp, Marie-Eve Munger, and Iris Kupke) sung with vim and vigor. 

The score of Elektra is earth-shattering and musically booming; this is ignited by the dissident blend of countless instruments which amalgamate dissonance with melodies. With Semyon Bychkov’s precision, the BBCSO successfully conveyed Strauss’ intriguing opera which was filled with quiet, subtle hushes and victorious brass instruments to build up wicked suspense. An example of this is when Orestes and his tutor kill Chytemnestra and she screams. It is the trilling strings and abrupt instruments that turn up the volume and violence which discernibly supplements Strauss’ fixation with female voices and the female psyche.

An shortened version of my review of Prom 59: Richard Strauss Elektra: 

http://www.ldncard.com/blog/prom-59-strauss-elektra/0038

 Review of Prom 58: Richard Strauss Salome

http://www.ldncard.com/blog/prom-58-strauss-salome/0036 

Information on the BBC Proms at the Royal Albert Hall, events and ticket bookings

http://www.bbc.co.uk/proms