La Clemenza Di Tito : Mozart : The Barbican Centre London

22nd February 2012

Deutsche Kammerphilharmonie Bremen
Louis Langrée conductor
Michael Schade Titus
Alice Coote Sextus
Rosa Feola Servilia
Malin Hartelius Vitellia
Christina Daletska Annius
Brindley Sheratt Publius

An opera in two acts

If, like me, you have no idea of the story, here's the synopsis

Act 1
The father of the Emperor Titus has usurped the throne of the
father of Princess Vitellia; she, in love with both the Emperor
and the idea of regaining the throne as his consort (in the
place of the ‘barbarian’ Berenice, daughter of King Agrippa
of Judaea), seeks vengeance. She appeals to Titus’s close
friend Sextus to avenge her. He, as Vitellia well knows, is
infatuated with her. Sextus’s choice is agonisingly simple:
gain the woman he adores, and murder not only his friend
but a great and generous monarch; or remain loyal to the
Emperor, and lose Vitellia. Sextus decides to obey Vitellia’s
command: she emphasises that she wants Titus dead before
the setting of the sun. But, with love for Titus fighting for
space in his heart with infatuation with Vitellia, Sextus finds
himself shilly-shallying.
The Emperor Titus makes a grand entry, and declares his
love for his friends, Romans and countrymen by announcing
an aid package for the victims of a recent eruption of
Vesuvius. Time is flying, and Vitellia is losing patience with
Sextus. But, just as Sextus runs off to obey her, and to set the
Capitol ablaze, Vitellia learns that Titus has not only been
deserted by Berenice, but has foregone his new idea of
marrying Sextus’s sister Servilia instead. She’s at last in for
a chance. Imagine her panic! How can she stop Sextus?
Her guilt, terror and anger ignite the flame-lit finale to the first
act.

Act 2
The act opens with the discovery that, miraculously, Titus is
still alive. Sextus has stabbed a poor fellow called Lentulus in
error – and what follows is a showdown between Titus and
Sextus as they start the process of self-examination to try and
live with what has happened. Titus is frustrated that Sextus
won’t explain himself; he is, of course, covering for Vitellia.
Titus sends for the guards: Sextus is to be thrown to the lions.
Sextus makes a final plea. And Titus reflects that he cannot
do violence to the dictates of his heart. Let my friend live, he
cries – and let me be accused only of mercy. If a hard heart
is required by the Empire, then take the Empire from me – or
give me another heart.
At this point, Vitellia realises with horror just how loyal Sextus
has been to her – and how her cruelty has made him a
criminal. She must tell Titus all, and forego marriage to him.
All that lies ahead for her is death and horror. It remains only
for all to be revealed, and for all to be pardoned. Titus will
not let Fate tempt him to kill even Vitellia. In the closing Sextet
and Chorus, the clemency of Titus is celebrated, and the
eternal gods invoked to watch over the Emperor and the
happiness of Rome.

And here's a link to a copy of the libretto - English translation - a great read to get closer to the story
http://www.impresario.ch/libretto/libmozcle_e.htm
and immerse oneself in the fabulous lyrics


Another first for me - loving all of this so much - La Clemenza di Tito performed in concert format (only seen one opera before performed in this way and that was Der Freischutz at last years' BBC Proms and that was fantastic!).

When I originally booked my ticket for this months and months ago Elina Garanca was scheduled to play the part of Sextus, can't pretend I wasn't a little disappointed but not in the least surprised when I heard she had cancelled having so recently given birth back in October last year, but felt sure that her replacement, Alice Coote would put in a great performance having seen her play Prince Charming in Royal Opera House production of Cendrillon last year.

I confess that having looked at the names of the rest of the singers taking part and not knowing any of them lead to a little apprehension on my part, until the music and singing started and I found myself absolutely carried away on a tidal wave of blissful music and absolutely incredible, beautiful singing from every single member of the cast. I would just love to re-live every single moment here, truly - yes it was that good, my words just cannot match the incredible beauty that I witnessed, and no superlatives can fully do justice to the performances of every single member of that cast - an absolute delight. If I could grab a train and go see it again right away I surely would.

First up Alice Coote just has to get a very special mention, her singing was just out of this world - and as she sang this to Vitellia - Act II Scene 4 - as Publius comes to take him to Tito

"If ever you feel a light breeze
playing on your face,
that breath will be
my dying sighs."

I could feel my heartstrings being very tightly pulled here, as Sextus sings this to the seemingly ungrateful Vitellia, as he faces the prospect of death having plotted and thought he had carried out the deed of killing Titus on her behalf - aaahhhh, the things you do for love, eh!

Not a story to over-tax one, but frequent pulling of the heartstrings, oh yes for in Act I (a quick rewind here), the singing here between Annius - Christina Daletska was a fabulous fabulous Annius - and Servilia, who are blissfully in love, was simply lovely as he breaks the news to her that Titus wishes her for his wife and that he, Annius must give her up - sorry just had to grab the libretto extract here ....

ACT I
FIFTH SCENE
Annius, Servilia
Recitative
ANNIUS
I must not regret it. This was the duty
of a generous lover. My heart, put aside
your former tenderness: she who was your idol
is your sovereign. Love must change to respect.
Here she is. O heaven!
She has never seemed so lovely to my eyes.
SERVILIA
My dearest ...
ANNIUS
Hush, Servilia. Now it is forbidden
to call me so.
SERVILIA
Why?
ANNIUS
Caesar has chosen you
(what martyrdom!) to be his bride.
He enjoined me (I feel close to death!)
to bring you the tidings (O agony!), and I ...
I was ... (I cannot speak). My Empress, farewell!
SERVILIA
What! Wait! I Caesar's bride?
But why?
ANNIUS
Because he could not find
beauty and virtue
more worthy of an Empire ... O heavens!
What shall I say? Permit me, my Empress,
to take my leave.
SERVILIA
Will you leave me in such confusion?
Explain: tell me,
how did it happen? In what way?
ANNIUS
I am lost unless I go, beloved.

....... you think that's it, oh noooooooooo, for then they break into this incredible duet - stunning stunning stunning


No. 7- Duet
ANNIUS
Ah, forgive, my former love,
that thoughtless word;
it was the fault of lips
accustomed always to call you so.
SERVILIA
Ah, you were the first person
whom I ever truly loved;
and you will be the last
to be sheltered in my heart.
ANNIUS
Dear words of my beloved!
SERVILIA
O my sweet, dear hope!
SERVILIA and ANNIUS
The more I hear your words,
the greater grows my passion.
When one soul unites with another,
what joy a heart feels!
Ah, eliminate from life
all that is not love!

...... wipes eyes, no it's just something in my eye, honest.


More than worthy of a mention also was tenor Michael Schade as Titus, particularly in Act II as he sings that his heart will not let him see Sextus killed for his betrayal, but before that, I must rewind (yet again-apologies for the jumping about) to Act I where we saw some lovely singing between him and Servilla - Rosa Feola (soprano) as he tells her he wants her for his wife and she confesses to him that her heart belongs to another, Annius.

Yes, a thoroughly enjoyable evening that left me more entertained than I had ever expected to be, and I am sure by now you realise I could go on and wax lyrical here forever, but time is precious for you and me - so many more momentous pieces I would love to relate, but risking overkill will stop here. No sorry, just must add a short word of appreciation for conductor Louis Langree, who bound orchestra and singers together perfectly ......... aaaaand must also just say I found with the concert format it seems to make you concentrate even more intently of the great music and beautiful singing - a definite plus on this occasion being of the high quality that it was. I'm done here, honest! (But don't count on it - I may just have to sneak back with more)

Tomb of The Unknown Craftsman : Grayson Perry : British Museum

 EXHIBITION RUNS UNTIL 26TH FEBRUARY 2012 - HURRY - DON'T MISS IT!!!


Yes, I went on a pilgrimmage to the British Museum yesterday-for that is Grayson Perry's way of describing our visits to art galleries and museums.

Having seen two documentaries screened on Grayson Perry and his Tomb of The Unknown Craftsman exhibition at The British Museum I thought I had just about seen it all and wouldn't bother with the actual exhibition but found myself thinking more and more about going because the overwhelming feeling I had from these programs was what a real nice down to earth guy he really was, but incredibly articulate - both verbally and visually in his art - OK to some he may seem a tad eccentric, but isn't there a bit of that to some degee or another in all of us even if it's just lurking there in the background buried and suppressed, so I ended up eventually knowing I just had to go and try get in this guys head some more and see what he makes of this world and see a bit more of his.


Before I go any further I think I should introduce you to Alan Measles - Grayson's teddy bear/god/muse/idol/hero/fellow traveller in this world, call him what you will Alan is the centrepiece of this exhibition and features in so many of Grayson's works - so precious is he that he cannot be allowed to attend in person so stunt doubles have been recruited to take his place.

Here is a vid with a brief introduction from Grayson himself to just one of the elements of the exhibit

and here's a bit more explaining - if it's possible - about the thinking behind the construction of the exhibition

The exhibition is a combination of ancient treasures from the vaults of the British Museum and Grayson's own works of art - a fantastic mix and I find I am kicking myself now for not looking more closely at his work in the past instead of boorishly dismissing it as "probably just more modern garbage", yes I am guilty of doing that with many modern artists. But here we have shrines, maps, tapestries, incredible ceramic vases - Grayson's work - the journey is simply mind-blowing but there's lots to smile at, laugh at and even reflect quite deeply upon along the way. OK, I thought, so maybe I would go to this exhibition but I was not - no I must not be tempeted into buying yet another expensive book to accompany an exhibition I had visited ..... well, no really I coouldn't help myself ..... I got so immersed in the guy, his work and his thinking and this exhibition I just had to have something to take home and reflect upon further.

This pilgrim, I can report - and I am sure the many others too who were also smiling/laughing out loud around the exhibits - has surely enjoyed her fantasic journey into the world of Grayson Perry. The exhibition has been extended for a further week until 26th February 2012 - seems almost sacrilege to the art world to even think of it being dismantled - would be lovely to have as a permanent exhibition.

Joyce DiDonato : New York Philharmonic : Barbican Centre

A mouthwatering program in store - got my ticket months ago and purposely have not listened to anything in advance as I felt I want it hear it new and fresh for the first time here and live - well I guess it's got to be for the UK premiere of Thomas Ades Polaris anyway, hasn't it, but as I know I like other music by Berlioz, Ravel and Stravinsky felt sure I wouldn't fail to enjoy.

Brushing everything - yes, everything else aside for a moment just have to first mention Joyce DiDonato's performance of Les Nuits d'ete - my reason for going in the first place for goodness sake, was that Joyce was performing this Berlioz piece. Beautifully attired in her Grammy-winning frock, and again looking like a princess she gave a performance to die for - truly, it was moments of immeasurable ecstacy I experienced to witness this, a thing of beauty in itself  but with Joyce's voice going from the deepest depths to the highest peaks in total control - how does she do that!!!!???

Thomas Ades - Polaris - first hearing of this and it went down very well - obviously I'm not sufficiently qualified to comment in too great a depth but this is definitley something I want to hear again - found towards the end great stirring stuff and left me very impressed - yup gotta listen again! Glancing up to balcony before start I did happen to notice small amount of the brass section positioned either side here (just for Polaris). Judging by the reception the orchestra and Thomas Ades recevied at the end of the piece the rest of the audience shared my enjoyment.

The Stravinsky (Symphony in 3 movements) and Ravel (Daphnis and Chloe) are, I am sure, well-known to any lovers of classical music and I enjoyed both pieces immensely - and feel quite confident on first hearing they will both become great favourites of mine to be listened to again and again.

I am still riding high on cloud nine from my experience at The Barbican last night, can safely say that I enjoyed the whole program from New York Philharmonic and Joyce DiDonato in particular.

Gotterdammerung : Met Opera : Live in HD

Twilight of The Gods/Gotterdammerung
Live in HD Broadcast Saturday 11th February 2012

Where did that six hours in cinema go!?!? Yes, it really was six hours! There are not many things I can think of that I would not resent giving up six hours of my life for but I can honestly say I was transported to such a magical place and fully immersed in the wonder and beauty of Wagner for the whole of that time, the incredible music and singing just took hold of me and the performing of that amazing cast left me open-mouthed,  spellbound and at moments completely breathless - yes this really is Wagner's Ring Cycle we are talking about here and Gotterdammerung in particular! If anyone had told me just a year ago I would be totally rocking to this I would have laughed in disbelief.

Six hours of glorious opera - where does one start? - oh dear this is going to be so difficult to get any sort of joined up thoughts together as my head is simply buzzing with so many outstanding moments - am hoping this blog will not quite go to the epic proportions in length of this great opera ...... but it's tempting, with the number of highlights re-playing in my head and so many fabulous performances that need, yes neeeeeed highlighting.

Synopsis here in case anyone curious
http://www.metoperafamily.org/metopera/history/stories/synopsis.aspx?id=46

We start with the Norns, the three daughters of Erda, mother earth, who are weaving a rope - the rope of Destiny and as they weave they sing to update us on the story so far contained in the three previous episodes of the cycle - oh do keep up! To my mind Wagner should have just let it be at Siegfried, with Siegfried and Brunhilde blissfully ensconced in each others arms upon her rock, but alas this was not to be, with too many plots woven into the story with so many wrong-doings perpetrated with either good or evil intent this really was never going to be a happy ever after conclusion and as the Norns conclude their song the rope snaps and their powers are lost forever - this give us a sign that the world of the gods is about to unravel.

Moving on we find new characters in the form of Hagen (Hans Peter Konig), Gunther (Iain Paterson) and Gutrune (Wendy Bryn Harmer) - fabulous performances from all three. If there weren't already enough loaded against Siegfried and Brunhilde's happiness this little lot, along with the wicked Alberich (I can't think of Eric Owens as wicked, lol, when he has such a cute smile in his press photos), will seal the fate of the two lovers. I must give extra special mention here to Eric Owens for his all too brief but stunning performance as Alberich, which I found spell-binding, he took my breath away - seriously, he was fantastic.

Now, this is what we have all been waiting for haven't we, well OK I haaaaaaave - the chance to return to the passionate pair atop Brunhilde's rock as we find Brunhilde (Deborah Voigt) and lover Siegfried (Jay Hunter Morris) still all loved-up, but incredulous mystery of mysteries the dollard - yes, that's Siegfried -wants to go a-wandering, and after a great deal of singing of their love for each other-some more hot singing from the lovestruck pair then .... off he goes, yes, he leaves his beloved alone on her mountain top ....... mutter mutter mutter ...... men!!!! Oh well, he does leave her something nice and shiny - theeeeee Ring.....let us not forget, he still has the magical Tarnhelm. With Brunhilde's horse Graine, Siegfried has made his way to the land of the Gibichings, unaware of the plotting as he arrives in their welcoming midst to be given a potion that makes him forget Brunhilde and fall in love with Gutrune - eeeeek noooooo - swearing blood-brotherhood to Gunther  (Iain Paterson) agrees, with the magic of the Tarnhelm, to disguise himself as Gunther and win Brunhilde as Gunther's bride.

Ah yes, the Ring, no sooner has Brunhilde got the ring on her finger - Sigfried departed and up turns her sister Waltrude (Waltrude Meier) who is after the ring to return to the Rhinemaidens in an effort to prevent the fall of the gods. Deborah Voigt and Waltrude Meier are divine singing here together, I just loved this bit, but for all Waltrude's beautiful singing and pleading Brunhilde will not part with Siegfried's ring, which she sees would be an act of betrayal of their love.

Waltrude departs and Siegfried arrives, with the help of the magical Tarnhelm, disguised as Gunther, steals back the ring and transports Brunhilde down the mountain, with no recollection of ever having known Brunhilde before, to the real Gunther who takes her back with him to the land of the Gibichings.

Jay Hunter Morris is a gorgeous Siegfried and so I now move the action on to the delightful scene by the Rhine with the three Rhinemaidens - Tamara Mumford, Jennifer Johnson Cano and Erin Morley - Siegfried encounters them as he is separated from the hunting party. This had to be one of my very favourite moments, the Rhinemaidens sang beautifully, really beautifully pleading for the return of their gold and Jay Hunter Morris, playful, shy, teasing seems to consider their request, but ends up refusing them - a glorious scene, but in the background the darkness is encroaching around him, the hunting party catches up with him and he meets his end at the hands of Hagen, who plunges a spear into his back having first given him a potion to restore his memory, as he dies he remembers his beloved Brunhilde - stop, wait, hold on, we have Siegfried lying dead here and now the orchestra is totally totally blowing me away with some of the most fantastic music I have heard in my life - the funeral march, fantastic!! WOW!!

It never was going to be a good ending as Brunhilde on her horse heads towards Siegfried's funeral pyre, Valhalla and the gods tumble, the Rhinemaidens manage to retrieve their gold from the ring as it flows back into the flooding Rhine, and claim the life of Hagen.

A mind-blowing and very enjoyable six hours in cinema, despite the numb rear, I loved Gotterdammerung - Wagner's Ring Cycle - oh yeeeeeeeeeeeeeeees, I love this Met Ring Cycle, I adore that cantankerous machine with a passion, and the cast are truly awesome performers, each and every one, I shall fondly remember this Ring Cycle, seems so sad to say goodbye.

Joyce DiDonato : Grammy Win

 Heartfelt Congratulations on a much-deserved Grammy win

Joyce singing Non piu mesta from her fabulous Grammy-winning album Diva/Divo just prior to receiving her award

And her awesome acceptance speech highlighting war on the arts

Just quickly and excitedly posting the news that - no surprise to any of her fans - Joyce DiDonato has got herself a Grammy for her fabulous album Diva/Divo - will return later when hopefully I can find some video footage of her Grammy performance - yes the whole world got to hear the most wonderful diva in the world - and receiving her award, can only find a few pics at the moment and am just gasping to see the vids myself as I was at work at the time the show was broadcast live - just quickly popped home at lunch time to see if there was any news and heard that she had got the win - was so excited for her, and even more excited that I will be seeing her perform at The Barbican, London this coming Friday with Alan Gilbert and The New York Philharmonic Orchestra, Joyce will be singing Berlioz's Nuits d'ete. I guess she won't be needing an airplane ticket to London - she should be able to get here self-propelled on that massive cloud she must be riding on right now.

(more on Joyce DiDonato here on this blog http://annez-reflectionz.blogspot.com/2011/12/joyce-didonato-yankeediva.html )

Edward Burra (Artist)

EDWARD BURRA (ARTIST)
Came across the artist Edward Burra at Tate Britain's Watercolour Exhibition in August 2011 and am now hooked on his work and am pleased to find that there is currently an exhibition of his work taking place at Pallant House Art Gallery, Chichester, West Sussex which runs until 19th February 2012 so that I can explore his work further.

Just to add that I have now been to the exhibition at Pallant House Gallery and enjoyed it immensely - to see so many of this artists works on display in one place was just incredible, a true feast for the eyes. There is nothing to compare with seeing a work of art for real, any phographic reproductions can hardly do justice to seeing the real thing, hats off to Pallant House for putting on such an incredible exhibition.

Edward Burra was recently featured on the BBC Culture program, here is a video clip of that feature by way of introduction

and a few examples of his art

            

    

                   

 

           

                      


   

     

did, I say a few ...... well maybe I got just a tad carried away, I adore his work so much.

Der Rosenkavalier : English National Opera

In an effort to try and cast aside my dislike of hearing a classic opera sung in English I had booked a ticket to see Richard Strauss's Der Rosenkavalier at English National Opera at The Coliseum, London. This intense dislike has thus far prevented me from booking a ticket for any of their productions even though many are ones I have never seen/or never seen live at least even though I have been absolutely aching to do so!

Sarah Connolly (Octavian)

So why this one? Sarah Connolly (mezzo) is why, I was just dying to see her Octavian and dithered about for weeks trying to decide to go or not to go, so Ms Connolly was all on you that I pinned my hopes on loving your Octavian so much that the language "thing" I have would be overcome. Sir John Tomlinson as Baron Ochs also helped to tempt me further, a chance to see the great man in action as I never have before.

Sophie Bevan (Sophie)

Sir John Tomlinson (Baron Ochs)

Amanda Roocroft (The Marschallin)

In the run-up I started to hear things about Sophie Bevan (soprano) playing Sophie, of course! My expectations were therefore running so very high by the time I found my seat, hmn, they have such a nice place here too (see my pics at foot of page) it's like a very elaborately decorated wedding cake, or perhaps not looking at the massive statuary jumping out of the walls, and up in the balcony-top deck I felt closer to the stage than I do in the amphitheatre at ROH.

Curtain rises and we find the Marschallin (Amanda Roocroft) and Octavian romping about in bed together, and they are great, their singing absolutely fabulous and lovely interaction between them. What a gorgeous Octavian Sarah is though, my word, I just can't imagine a better Octavian I really can't! We move on a bit until they are joined by the odious Baron Ochs (JT), he's really great but perhaps too nice to be a seriously odious Ochs, but very nicely done. As we move yet further into Act I the Marschallin's followers/hangers-on, dependents appear, amongst them a Tenor singer, instructed to sing for her, who goes on pretty much ignored by the others in the room, but here we have a lovely treat with the great singing voice of Gwyn Hughes Jones. Act I ends with a lovely but sad scene as the Marschallin laments her youth and the fact that Octavian has gone from her without a kiss, some beautiful singing and a lovely protrayal from Amanda Roocroft.

Into Act II and the bit I have been gasping to see as we have The Presentation of The Rose by the dashing, yes this very dashing Rosenkavalier, I'm expecting fireworks here between Sophie Bevan and Sarah Connolly and yes, oh yes, yes, yes, the singing is magical between the two, I am in opera heaven, truly transported, the pair produce singing to die for! Is the best of the show over I ask myself, thoroughly buoyed up and in tears from from the sheer beauty of what I have just witnessed and thinking it can't possibly get any better than this. WRONG!!!!

How could I have possibly expected to be transported to even more dizzying heights but as the opera unfolded and is almost complete here comes the trio between Octavian, Sophie and the Marschallin in Act III and oh my goodness how these three voices combine together to produce something so beautiful I can scarce breathe lest I miss a note, ye gods please let this go on forever, I am enthralled and transported to even greater heights than I could ever imagine! WOW! Thank you ladies, the three of you made my night! Pure bliss! So glad I didn't miss this.

Back down to earth, well almost, not sure I will be beating a regular path to ENO - parts sung in English still grated here and there, with the omission of those three ladies whose singing was so exceptional it didn't seem to matter quite what they were singing or what language they were singing in but just imagining if this were sung as it should be in German what a difference it would have made to the production as a whole ...... I am hoping that one day I may see these three ladies in a production of Der Rosenkavalier at The Royal Opera House singing this in German ....... their voices are certainly worthy of this stage and in these roles, in my own very humble opinion.

Just had to add this for anyone wanting a more detailed appraisal from someone obviously more qualified in technical observations than I shall ever be
http://www.opera-britannia.com/index.php?option=com_content&view=article&id=637:der-rosenkavalier-english-national-opera-28th-january-2012&catid=8:opera-reviews&Itemid=16

Love what he says about Sophie Bevan
"I have never heard such a full-bodied, utterly secure soprano in the role as Sophie Bevan in my life, and I heard Lucia Popp. In fact, I’ve left her until last amongst the principals because she was, most assuredly, the best of them. The voice is quite lovely, and far more warmly rounded and powerful than the usual starting-out soubrette you get to hear as Sophie: yet she floated the B-flats and Bs of the presentation of the rose sequence in Act II with complete assurance technically, allied to an almost sensual beauty of timbre. Himmlische, indeed: and in fairly short order, what a Marschallin she’ll make. Allied to a winningly feisty manner – no shrinking violet this silver rose – and a natural, sympathetic stage persona, Bevan will surely become one of the leading singers on the front-ranking international circuit within the next five years if it all holds up."

 

 

 

 

 

Footnote 21.11.12:  I feel I must hereby retract a statement I made saying I did not imagine I would be a regular at ENO, having now visited on four occasions can confirm I am now officially hooked on their productions, whilst I still prefer opera sung in original language for the classics I have loved  all that I have seen/heard - Der Rosenkavalier, Dr Dee, Julietta and now a stunning Pilgrims Progress - lots more to come, and hopefully will find time to write about those I have not had time to thus far.