Sunday, July 21, 2013

Come fly with the Dutchman




Well, that was a ride and a half! Up close and personal with with the Sydney Symphony and some fabulous soloists for a Wagnerian opera. Like, really close. Third row close. My ears will take some time to recover from the eargasm.

To be sure, it may not have been the best place to hear some of the voices, as singer's voices do tend to be quite directionally focused, and they were definitely singing over our heads. Thus some passages may have struggled to carry to our seats, but it was only small patches, with most reaching us fine, even if not with the full power those voices displayed.

And what voices! Anytime you have Eric Owens on stage is a good time. Adding the fearless and magnificent Orla Boylan and Ain Anger as well, and you have the foundations for an astonishing performance.

So, from the outset, despite this being a concert in the symphony season, it was a very theatrical event. Before the concert started, the lights were dimmed till only the stage was lit. The backdrop lit up with images of the sea as the opening chords of the prelude kicked in. From there on, the magic of Wagner began to cast his spell, weaving his impossible gothic tale of horror and redemption.

It has to be said, from the word go, the orchestra and its conductor David Robertson were on fire, wringing out every inch of drama and excitement of an admittedly already exciting score. As mentioned before, this was a very theatrical concert, so as the usual choir stalls were behind the screens, the choir was set up with the men on one side of the stage and the women the other. The offstage horns for the calls to the Dutchman's ship were towards the back of the auditorium.

From the opening notes of Anger's Daland, there was no doubt we were in for a treat. His huge beautiful bass, used to good effect last week in the Verdi Requiem took on a new level, as he clearly revelled in the role, bringing nuance born of a clear understanding of the text. This was text driven singing, rather than just singing the notes, coupled with a beautiful expressive voice.

Beside him, the Steuermann of John Tessier seemed at first a little overwhelmed, but quickly grew in strength. His higher notes soared across beautifully, expressing the longing to be back home with his unnamed (possibly nonexistent) beloved. The timbre of his voice was just right for the role, making that youthful cry all the more right.

Then of course, the Dutchman of Eric Owens arrives, the reason for this performance in many ways. Sounding at once world weary, yet still also longing for release, he brought the mythic sailor to life, in both glorious sound and menace. His performance is every bit as good as as you would expect, but like many bass voices, his comes across much richer in person than in recordings. It's an unusual sound, as you would know if you have heard it, instantly distinctive, and glorious in villainous or troubled roles. The Dutchman is very much his role, just like his Alberich for The Met, a tour de force of singing a role, seemingly written for him.

I was also expecting good things of Orla Boylan as Senta. I was not disappointed. This is not Senta as ice maiden, this is Senta as glorious flesh and blood woman, a conflicted whirlwind of emotions, powered by a glorious sliver toned voice that cut through the orchestra with ease. She made the Ballad that is her big opening number both dramatically and musically cohesive, allowing the lyrical beauty to come through, as well as the intrinsic creepiness of the piece. She could make a fine career, just singing Senta around the world if she wanted, I expect.

To me, the Erik of John Dazsak was much stronger than his tenor soloist in last week's requiem. Whether the repertoire suits him better, or if having a character to portray is what made the difference, I'm unsure, but the difference was noticeable. He was convincing as the suitor rejected by Senta, abandoned for the hero who has haunted her dreams for years.

And, while it is only a small role, I also have to say the Mary of Sally-Anne Russell was a treat. She vividly brought life to the role, and was a clear demonstration that despite the starry talent on stage, Australia too has plenty of great singers, which Sydney Symphony needs to remember when casting. I know we have some great voices around, who we should be hearing and aren't.

And, as well as the great soloists we also had excellent singing (with much better diction this time) from the Sydney Philharmonia Choirs. They clearly relished being in character, and brought life to what could have been just stand and sing moments.

So, all in all another fabulous night of singing. I'm tempted to look for a ticket for Monday night to go again, though I suspect it is now all sold out...


 

I'll leave you with Ain Anger singing, for those who have not heard before...

Sunday, July 14, 2013

Viva Verdi (RIP)






So, that Verdi Requiem, hey? Having been sung at loudly and gorgeously by four soloists and a massed chorus, as well as orchestra, for over an hour, everything does tend to become a bit numb. Gorgeousness blends into gorgeousness, counterbalanced with the fierceness of the fiery sections, as Verdi demands his full forces let rip in an orchestral orgy of horror at the day of judgement. And yet, so much beauty interspersed.

With the combined forces of the Sydney Symphony and the Sydney Philharmonia Choirs and the Tasmanian Symphony Orchestra Chorus, led by David Robertson, it was always going to be a big sound. Adding in three superb singers and you are pretty much bludgeoned into a delicious pulp. This is a good thing.

So, yes, I now can add Erin Wall to my list of Extraordinary Must See Singers. Beautiful, pure, lyric soprano, the sort that makes you go "how is she still singing that, that loudly and sounding pretty, not harsh?" Yes, she is one of those singers. Was it wrong I kept thinking through her singing of things I would love to hear her sing? Pamina and Countess both sit high in my list of things she would be amazing in. That heart breakingly beautiful sound would just leave you haunted in such roles.

So, needless to say she sang well. High notes wafted "up there somewhere" and the ability to go from the quietest pianissimo to her loud fortes without that sense of switching gears that you get with some singers. And such a beautiful sound from top to bottom.

Her mezzo companion was Olesya Petrova, bringing a big creamy sound, well matched to her soprano compatriot. The only time I found myself at all disappointed with her was in the Angus Dei section, when she and Erin sang in octaves. Next to Erin's higher notes, Olesya sounded slightly harsh. Not that she was, just that Erin was singing even more beautifully. It was weird, because the rest of the time, they sounded gorgeous together.  Something about those octaves though, left me thinking why is this not as gorgeous as it should be. Truly odd.

The other superb member of the quartet was Ain Anger, with a fierce bass sound. This is a man clearly used to singing bass villains, and doing it well. Sometimes, I heard a villainous snarl during some of his solo lines and thought, wrong piece for that flourish big guy, but otherwise he was fabulous. A big resonant bass voice who could boom fiercely through the Confutatis section. That it took over from the Ingemisco of John Daszak did seem a little unfair. For both.

To be honest, I was expecting better things from John Daszak. Now, maybe he was having an off night, or the Latin text is something he finds challenging, but I was definitely underwhelmed. Throughout, his voice sounded dryer, less resonant, and basically, tired. Maybe he was. He had sung the night before too (as had the others). But, having said that, all the notes were there, and when he was singing with the others, he blended in beautifully, the sections with him and the bass and the mezzo were just beautiful. I am just very glad the Ingemisco was not at the start, as he had improved by the time he got to that, but it was still not that gorgeous sound we were hoping for.

As for the choruses (for we had two in this), well, lots of sound, and no obvious wrong notes or bad entries. The only criticism I had, was that I would have liked more clarity of diction, but with that many singers, and a big choral concert from them next weekend as well, I can well understand why. That precision requires lots of drilling, and with two big concerts back to back, it does become a challenge to get both up to that standard.

Which of course, leaves David Robertson. For the most part, I liked what he did with his forces. There were a couple of interesting touches to how he shaped sections, noticeably at the end of the Dies Irae sections, where he worked to get an almost bouncy, juddering effect, which worked. My only criticism, would be I would like a touch more savagery and more of a turning on a dime feel to my Verdi. This was sometimes too pretty, when Verdi really comes to life with savagery. But, considering the forces, I suspect he went more for unity, rather than fierce precision.

So, on the whole, a truly fabulous concert. Not perfect but, very very good!







Erin singing a different Verdi, in case you do not know her voice.

And, now that the boffins have done their thing, the entire concert is available for viewing online...

Click here (needs silverlight)


Wednesday, July 03, 2013

Go see LA Forza!!!







Any opera called "the Force of Destiny" (or La Forza del Destino, in the original Italian) has to ask big questions, or at least attempt to, to avoid being laughed at. Its debateable whether Verdi does ask such question, but he does certainly fill his pot boiler of an opera with characters who seem to be doomed to spend their lives unhappily, their destiny set from before the opera starts, it would seem.

Tama Matheson has directed a very dark retelling of this tale. He has opted to focus on the story and its themes, and tell that, rather than try to update it to some other time, trusting in the source, rather than feeling the need to change the story to fit his ideas. Thus, the stage is filled with characters in period appropriate costumes.

And yet, the set itself, tended to be non naturalistic. Props that were needed were always available, and era appropriate, but the stage itself was mostly left blank, with a series of platforms and staircases wheeled in out and around, as needed, with curtains and a large revolve, used to change spaces as needed. At various times, other pieces were added and removed as required. A large skull often featured, with a giant statue of the Madonna, an altar, massed candles, and a crucifix, all appearing at times to add to the atmosphere of religious fervour, and oppression.

This production does take a few small liberties with the story though. Preziosilla, ably sung and acted by Rinat Shaham, became, not just a fortune telling gypsy, but an embodiment of Fate itself. She lurks menacingly whenever any scenes ripe for death or "significant plot event" happen. As characters die, she has kissed them immediately before, becoming the hand of fate that brings death. At times, the women of the chorus join her in this role. In the battle scenes, the women, hidden behind death masks, wander amongst the soldiers, touching them, which results in them dying.

So, about the performers. First, let me say, this is probably the best cast opera I have seen live in Sydney. There were no weak links. With five leads all at a very high standard, this is no mean feat!

First, of course, our Leonora, played by Svetla Vassileva, bringing a slight figure and huge voice to the role. Hers is a big, beautiful voice, used to good effect in this role. A few times her loud notes became a bit squally and wayward, but mostly she sang with gorgeous tone and portrayed the initial nervousness and then anguish of her character well. Singing much of her final aria Pace pace mio Dio lying on the floor, her torment at what had become of her life was almost too painful to watch.

As her fiance Don Alvaro, Riccardo Massi brought a strong tenor voice to the role. He was convincing as the impulsive foreigner in love with Leonora and whose plan to elope was destroyed by the intrusion and then death of her father, (well sung by Richard Anderson)

A welcome return to the OA stage was by Jonathan Summers as Don Carlo. Hearing the veteran sing with the strength that puts most younger baritones to shame, reminds us of a time when he was a regular singer here. His determination to get vengeance and repair the honour caused by the loss of his father was palpable, as was his brokenness from his loss.

And I mentioned Rinat Shaham before, so all I need to say is, how good is it to have a singer who can sing from the back of the stage, on a raised platform and still have her heard at the back of the theatre, over the chorus in front of her? Very good! Though why every director chooses to go nuts with at least one of Preziosilla's scenes, I have no idea. This time, her "Rataplan" results in all the chorus dying as she sings. Not the effect that Verdi was aiming at!

The lead that gets the least time though, who also impressed me the most was Giacomo Prestia. Big beautiful sounds poured out of him effortlessly, every time he opened his mouth. Can we have him back soon to sing King Phillip in Don Carlo? Please?


To give you an idea how big his voice is. His Melitone, Warwick Fyfe, who sang Falstaff earlier this year at OperaAustralia, seemed small voiced when singing next to him. Not that this was bad, Melitone is a smaller role after all (and Warwick filled it well) but the difference in voice size between them was noticeable.

It has to be said, there were lots of clever touches throughout this opera, things that showed the director and designers had thought long and hard how to create a strong sense of the atmosphere and story. These occurred throughout the opera. For example, in the opening, Leonora starts in a big elaborate wide dress and wig, which during her first big aria, she is helped out of by servants, as if her rebellion requires her to first be freed of the shackles society has put on her. She later spends the rest of the performance in plainer costumes, indicating that she has left her past behind her, even as her past will not leave her. At the end of Act2, as she puts on the monk habit before beginning as a hermit, the monk assisting her removes the hood from his head, revealing to us that, in her mind, she sees her dead father, and because almost paralysed with fear.

Andrea Licata was the conductor, keeping the forces well controlled. Personally, I prefer a little more forcefulness in my Verdi, but, the ensemble was tight and controlled, working with the singers to comment on the action.

So, my advice? If you like Verdi, go. You won't see a cast like this locally again in a hurry.