Orchestra of the Age of Enlightenment, Ivan Fischer (conductor)
Royal Festival Hall, 7th February 2020
Mozart Symphonies Nos 39, 40 and 41
The OAE, like so many of its orchestral peers, is doing a remarkable job in bringing music to us in this troubling times. All with a solidly educational bent, befitting an ensemble which has followed its own path, keen to bring historically informed performance and repertoire, (and now much more), to as broad an audience as possible since it was founded in 1986. Take a look. And while you are at it see what the LSO, Berlin Phil, LPO, London Sinfonietta, Aurora Orchestra, Wigmore Hall and others are up to. Loads of archive, and even, socially distanced, recent, performances. Let me know what else you have found.
Oh and don’t get me started all on the opportunities to buff up on opera. Most of it isn’t for me but if you are keen on your Verdi, Puccini or Wagner, you are spoilt for choice. OperaVision, Marquee TV, the streams from the Met, the Royal Opera House, Vienna State Opera, as well as the Dutch National Opera, Opera Ballet Vlaanderen, La Monnaie, Bayerische StaatsOper, Deutsche Oper Berlin and our own Garsington Opera. They may be more. So far my lockdown viewing has only extended as far as the Aldeburgh Peter Grimes on the Beach, the Glyndeboure Fairy Queen and the ROH Gloriana. And best of all the Monteverdi Choir and Orchestra semi-staged trilogy under Sir John Eliot Gardiner from La Fenice. Spell binding.
Anyway from a purely music perspective then it’s hard to beat the Concertgebouw archive,, whether the Orchestra itself or the venue website. I am currently thoroughly enjoying the Beethoven symphony cycle with the venerable ensemble under the baton of guest conductor Ivan Fischer. Rich interpretations and even digitally mediated the vibrant sound of orchestra and venue is palpable.
Ivan Fischer also acts as one of the Principal Artist conductors for the OAE, (when he isn’t working with the ensemble he founded back in 1983, the Budapest Festival Orchestra). And here was a programme of the last three great Mozart symphonies played in one grand sweep, though with an invitation from the urbane Mr Fischer between movements, which the audience was happy to accept. There was an interval half way through No 40 but the idea, not altogether successful, was to highlight the links between symphonies and movements. Ivan Fischer picked up the notion of seeing and hearing the three symphonies as a whole came from his mentor, Nikolaus Harnoncourt, so who am I to argue. All the interruptions however seemed to me to dispel rather than support the theory.
They were all written in quick succession in the summer of 1788, without a commission, at a time when, allegedly, Mozart was even more brassic than usual. The level of invention, even by Wolfgang’s high standards, is astounding, instrumentation pushed to its limits, and structurally they are all similarly orthodox, only hinting at the risks that LvB was to take less than a couple of decades later. The differences however are still profound. No 39 is more understated, often deceptively simple, but very satisfying, No 40, along with No 25 the only one of WAM’s symphonies in a minor key, dials up the Haydn-esque Sturm und Drang emotion, with No 41, Jupiter, in more heroic vein, straining at the leash of the possible whilst still, in the still gob-smacking finale, (however many times you hear it), echoing the contrapuntal wizardry of the past especially JSB.
The OAE and Mr Fischer created a perfectly agreeable interpretation of the works without them ever seeming to catch fire and there were a few issues with balance and dynamics, (the QEH suits this orchestra better than the RFH), with the woodwind seeming to recede. Having said that I recall this orchestra playing this repertoire in this space a few years ago under another guest conductor, Sir Simon Rattle. I don’t always get on with his gigs, but this one was a triumph.
Or to give it its full name Die Entfuhrung aus dem Serail or The Abduction from the Seraglio. Here though Seraglio, not just to reflect the fact that this English Touring Opera production is sung, (and spoken), in English following a colloquial translation by Andrew Porter of Gottlieb Stephanie’s original German libretto, but also to deflect away from the abduction and attempted rape which lies at the heart of the story.
And that’s not all. The setting, the seraglio, (where wives and concubines were confined), of Pasha Selim, reflects the fascination in late C18 Austria with an exoticised Ottoman Empire which had recently been decisively defeated by the Hapsburg forces. A story of racist superiority is what patron Emperor Joseph II expected to see at the premiere in Vienna in 1782 and this is, broadly, what he got, notably in the character of the Baddie henchman overseer Osmin. But Mozart being Mozart, with his quirky Enlightenment sensibilities, he took something of an axe to audience preconceptions by, eventually, showing the Pasha as selfless in relinquishing his claim on Konstanze and passing her to our hero Belmonte. Put like that it doesn’t sound much more palatable. Yet this twist is what directors in the modern age have clung on to fuel their interpretations. Stephen Medcalf, the experienced director here, was no exception.
If you want to enjoy Mozart’s operatic genius you are going to have to take the historically conditioned plotting rough with the many-noted, (this is the piece about which Emperor Joe made his famous, though apocryphal, comment), smooth. This is not the best of Mozart by a long way. Gottlieb Stephanie’s libretto relies on spoken word to advance the plot, and was not built for recitative, and some of the tunes are a little bit too pastiche Turkish. Even so there are some very fine arias however, which hint at emotional depth, and are some of the most challenging the boy Wolfgang ever penned, and there are plenty of comic sparks. For Seraglio is, despite its dubious content, a comedy which pivots on two “love” triangles.
As usual then the Tourist has to get comfortable with the idea of a Mozart “comic” singspiel opera rooted in anachronistic tropes before he can sit back and enjoy, but also, as is usual, eventually the music takes over. Mind you when I say sit back that is a bit of an exaggeration. At just £15 the side of the Upper Circle at the Hackney Empire is a steal. Sight-lines are fine and you are close enough to the pit for the acoustic not to be an issue. These are not the comfiest of chairs. On the other hand they are no worse than the equivalent cheapest seats at the ROH and the ENO. And there you need oxygen and 8×40 binoculars. So I will take this option every time, (and so should you with a Cosi and a slimmed-down version of their Giulio Cesare to come in ETO’s spring season).
The sets in the handful of ETO productions I have seen have always impressed. Not too abstract but not too conservative. Touring plainly focusses the creative mind. Adam Wiltshire has devised a collection of gilded bird cages to symbolise the seraglio which swivels to provide Osmin’s Moorish gatehouse cum workshop, all framed by David W Kidd’s colourful lighting design. Costumes are faithful to the early C17 setting. Though it takes a little time before the big reveal given the perky extended orchestral intro that Mozart scored to show off his skills and introduce his themes. The Old Street Band orchestra, on top form under conductor John Andrews, was the standard 29 strong HIP Classical set up with a bit more percussion and wind (particularly convincing) to beef up the “Turkish” passages.
Enter Spaniard Belmonte in the form of John-Colyn Gyeantey who has come looking for his betrothed Konstanze (Lucy Hall), her maid Blonde (Nazan Fikret) and his steward Pedrillo (Richard Pinkstone). The two ladies have been captured by pirates and sold to Pasha Selim (Alex Andreou) who keeps perving the still virtuous Konstanze, with Blonde given to Osmin (Matthew Stiff, a well upholstered fellow much like the Tourist), as a slave. Osmin badmouths Belmonte, and then Pedrillo, prior to the two lads reuniting and hatching a plan to spring their lady loves. Pedrillo persuades the Pasha to give Belmonte a job as, er, an architect.
Act II. Blonde and Konstanze rebuff the advances of Osmin and the Pasha in turn. Pedrillo challenges Osmi to a drinking game. The two couples happily get together though only before, usual opera sexist nonsense, the fidelity of the ladies is confirmed.
Act III. Ladders. Distraction. Capture. An unfortunate bribe by Belmonte when it turns out his uncle Lostados is Pasha Selim’s sworn enemy. Likely torture and death until the Pasha’s extraordinary switchback as he decides he can make his point better by showing clemency. Happy ending.
Daft eh. Well yes. And torn, as was the Western intellectual and political fashion at the time, and maybe since, between admiration for “Oriental” culture and fear of the brutish “Muslim” other with sexual corruption a barely concealed sub-text. Mozart wasn’t the only composer of an “abduction/escape” comic opera. Audiences lapped them up. But whilst it takes a little time, the Pasha’s sensitivity and dignity, is eventually revealed, and Belmonte and Konstanze both explicitly voice their respect for him at the end. The finale may be a cheesy six way encomium, which puts Osmin back in his box, but the message of tolerance still shines through.
This doesn’t mean a get out of jail free card, (the pun is deliberate), for the comic shenanigans that precede this, even if there is more to the Pasha and even Osmin than meets the eye. And this is where the translation, the performances and Mr Medcalf’s clear-sighted direction persuaded. The acting, choreography and singing of the scenes between Pedrillo and Osmin (“Solche hergelaufne Laffen” and “Vivat Bacchus! Bacchus lebe!”), Osmin and Blonde (“Durch Zärtlichkeit und Schmeicheln” and “Ich gehe, doch rate ich dir”) and Konstanze and the Pasha (“Martern aller Arten” which is about as good as it gets Classical soprano wise), are tender and funny largely because they are the tussles of equals. Osmin’s amazing aria, (“O, wie will ich triumphieren”) where the bass part descends to a low D, is an empty triumphalism. Conversely there is a sense in Belmonte’s set pieces (“Konstanze, Konstanze, dich wiederzusehen … O wie ängstlich” and later, “Wenn der Freude Tränen fließen” and duet “Welch ein Geschick! O Qual der Seele…. Weh, du soltest für mich sterben”) that he isn’t just going automatically win back Konstanze. In a plot built on rash negotiation the women here are definitely more in control.
It is still built on disconcerting premises but with acting and singing of this quality, especially from the feisty soprano Nazan Fikret, the dextrous light tenor Richard Pinkstone and plaintive Matthew Stiff, and the secure voices of John-Colyn Gyeantey, (bar a few wiggly vibratos), and Lucy Hall, it was impossible not to get carried along and I ended up thoroughly enjoying this production. Mozart wrote the parts for specific, and very talented, singers of the day, and Lucy Hall and Matthew Stiff particularly, were up to the task of navigating them. Alex Andreou was able to bring an air of thoughtful grandeur to the non-singing Pasha despite limited opportunity and a few shouty moments, especially when describing how he was so wronged by Belmonte’s uncle. And the small chorus of four, two guards, two concubines, (Rosanna Harris, Holle-Anne Bangham, David Horton, Jan Capinski) gamely mucked in with prop moving alongside their vocal duties.
So there you have it. A thoughtful production where director and designer simply nudge the material into the c21 and then allow the talented cast and well drilled orchestra to highlight the comedy in Mozart’s music and in the plot. And, for once, I didn’t really need the sur-titles. In my still far too limited experience opera either works or it doesn’t. Sometimes you can stake high and lose big. Not here though. A massive beat to expectations as I might have said in a past life.
Philharmonia Orchestra, Herbert Blomstedt (conductor)
Royal Festival Hall, 14th April 2019
Mozart – Symphony No 40 K550
Beethoven – Symphony No 3 “Eroica”
Bernard Haitink is 90. Herbert Blomstedt is closing in on his 92nd birthday. Unsurprisingly perhaps neither of them is particularly animated on the conductor’s podium. Mind you neither of them ever has been. Now you might ask yourself, apart from, by reputation, being a thoroughly nice bloke, (probably part and parcel of his fervent faith), at this age what is in it for him, and us, of Herbert Blomstedt continuing his life’s work when he should have retired years ago. To which I respond the world of classical music works to different rules.
Just to be clear. An orchestra of the calibre of the Philharmonia probably doesn’t need a conductor, of whatever vintage, to play this two warhorses effectively and efficiently. But it does need a conductor to lead and shape its musical vision. In its case the soon to be departed Esa-Pekka Salonen, its current Principal Conductor and Artistic Advisor. The reputation of young conductors is made on their skills in interpreting and shaping the music on the page, but their legacy is a function of what they do to the orchestras they are tasked to lead. What they play, why they play it, how they play it, where they play it, who they play it with, what they choose to set down for prosperity. All artistic decisions.
And then there is the commercial imperative. The PO helpfully shows what funds its 11 million quid annual running costs. (Just before any of you philistines get antsy that’s the price of one first team, high end Premiership footballer. I know football clubs are commercial concerns, often listed. But the cost of paying the asserts still makes then a sh*tty investment. Stick to consumer staples I say).
Around 25% comes from its Arts Council grant and tax relief – peanuts to you the taxpayer for the massive contribution to our cultural fabric. The result largely comes from ticket sales (15%), tours (25%), recordings/bookings (10%) and just over 20% from fundraising, all those nice philanthropic types. Now the head honcho conductor isn’t in the front line begging for money, (quite the reverse, E-PS donates a chunk of his earnings to the orchestra), but his, (shamefully still only very occasionally her), standing makes a big difference to the economics.
Of course the Chief Conductor/Artistic Director isn’t the only stick waver employed come show time. There are, depending on the size and status of the orchestra, a host of Guest Conductors, Conductor Laureates, Associate Artists and featured partner conductors who also shape and lead performances. One or two may play a part in the broader life of the orchestra, (the trainees for the big jobs if you will), but most pitch up for, more or less, just the rehearsal and the performance. But they will still have an ongoing relationship with the orchestra. This is important. Music making is a shared endeavour. If the orchestra doesn’t believe in the conductor trust me it shows.
Even so, unless things start to go seriously awry, the beat-keeping on the podium is more for us than them. Mind you in a big piece with a. big orchestra, the conductor is the thing that holds the dynamics together. And, he/she can still be invaluable, with his/her cues, in helping mesh soloist and orchestra together in a concerto. But largely, I would say, it’s all part of the orchestral theatre. So, obviously, it is what goes on beforehand that matters. There aren’t that many scores with nailed-down instructions on tempi, dynamics, articulation, phrasing, shaping ….. and all the other stuff that us non-musicians have no idea about. And even if there are it is not illegal to shake the score up a bit. So someone needs to set the interpretative rules.
And this can make a big difference. Just compare recorded performances of the same piece and you will get the picture. Composer and performer are generally the same in modern music genres. Not so, generally, in classical, art music. Who matters more is a function of musical history. Go delve.
(Now I know that there are plenty of performers and ensembles who work in a different way. No permanent conductor. Playing from memory. Just a leader. But I don’t they would do it for Mahler’s Eighth).
Which, finally, brings me to these performances of Mozart 40 and the Eroica. You and I have heard them billions of times. Old school, HIP, HIP informed, gut, steel, smaller/larger orchestration, fast/slow, Classically cool or fervently romantic. There are loads of ways to cut these delicious cookies. Herbert Blomstedt and the PO just played them. Perfectly. At a fair lick if I am honest which suits me, but never over-revving the PO’s engine, and with some well placed, not too much, vibrato, when it was reasonable to do so. But overall nothing showy. Just the right choices each and every time.
Mozart is not standard Blomstedt territory but he captured the tension in the opening Allegro, the clean textures of the Haydnesque slow movement, the bracing dance of the Menuet and Trio and nailed the forward-looking innovation of the finale. All the repeats present and correct. Maybe the minor key (this and No 25) is HB’s bag.
Beethoven definitely is his territory and this was marvellous. He plainly loves it and made the PO fall in love with this, the most important work of music in the Western canon IMHO, all over again. 50 strings. Count ’em. Violins antiphonally divided. But every texture, every phrase, even when it get a bit blowsy, in the coda to the epic opening movement or the heroic final variation in the Finale, was utterly transparent. He has clearly continued to learn from the new ways of approaching LvB’s music and grafted that on to the decades of dramatic interpretation he has lived through. No need to open the score. Back straight. Legs planted. Just fingers, elbows, shoulders to remind the players what they already knew. Some stand out double bass grooves and well hard thwack timpani. Natural trumpets. And, in the funeral march, plenty of aural elbow room for the woodwind to shine. The change that this piece of music ushered in was plainly heard but never at the expense of its still Classical grounding.
Best of all. He believes in Beethoven’s markings. Even if he, like most, can’t quite get there. I am not advocating blast beat fast a la Gardiner, (though I am salivating at the complete cycle with the ORR next year at the Barbican), but LvB knew what his was up to and if you don’t agree you can go back to your interminable Wagnerian dirges.
Even when taking the well deserved applause HB seemed more concerned with praising the audience than lapping up the audience appreciation. Mark of the man. With Abbado, Boulez, Harnoncourt, Masur and Davies sadly no longer with us this leaves Maestros Haitink and Blomstedt as the granddaddies. (I can’t vouch for Mr Muti). Both prize purity and don’t f*ck about with what is on the page. Haitink still gets my vote but he only seems to do Bruckner or Mahler now. So hearing what a legend does with stuff I love was a real privilege.
There aren’t that many recordings I would own conducted by HB, whether with the various Scandi outfits he has headed up, the Dresden Staatskapelle or the Leipzig Gewandhaus. (Under Barenboim and Chailly these two have climbed to the very top of the orchestral tree but guess who kicked off the journey). But I wouldn’t be without his Nielsen symphonies with the San Francisco Symphony Orchestra. Basically he single handedly showed what the rest of the world what Denmark’s favourite musical maverick (I know, it’s a small field) could do. Priceless.
I’ve said it before and I’ll say it again. When opera works there is no other art form to touch. But when it doesn’t it can be mystifyingly dull. What’s more it can be the very same opera which is both of these things.
Take The Magic Flute. It is an undeniably daft opera. Its message is the triumph of the light and reason offered by the Enlightenment over the dark forces of Empress Maria Theresa’s absolutist Habsburg regime and the obscurantist Catholic Church. I understand that the Freemasons here are the good guys, even when they don’t appear to be, (though I gather the current mode de jour is to play down Mozart’s funny handshake connections), and that the Queen of the Night, even if she can hold a note (high F6 apparently), is not ideal mother-in-law material.
But even armed with sub-textual knowledge, insight into plot and familiarity with the score, (though that isn’t necessary though, this being Mozart, undeniably the greatest ever composer for dramatic voice), it can still it can still come across as upper class pantomime and take an age to get through. Unless of course it is directed by the genius that is Simon McBurney. There he is above in The Encounter. Mr McBurney OBE is the Artistic Director and a co-founder of Complicite. Complicite might just be the most important, and certainly the most innovative, theatre company in the UK. And therefore maybe the world. I say this secure in the knowledge that I have only seen a handful of their productions but when you see what they do you will know too. Which is what happened to BUD on the evening we went to see this Magic Flute. Mr McBurney has an eclectic list of film and TV, and directing, credits, so you are bound to have seen him somewhere, but it is his work with Complicite, extending far beyond direction and performance, given the vast array of associates involved in the company, that makes him special.
Now the Tourist, given his only rudimentary understanding of opera as an art form, and especially his inability to grasp the basics of musical constructions, find it tricky to opine on the subject. Moreover by rejecting pretty much all of C19 opera, (the bel canto of Rossini, Donizetti and Bellini, the pompous melodrama of Verdi, the sentimental, pot-boiler manipulation of Puccini, the meandering bombast of Wagner – I’ve tried it all and I can’t be doing with it), and seeing it as drama with music, not music and tunes to which the drama is stitched on, I appreciate I am drastically narrowing the field. There is plenty to like musically from the Baroque but you need to get on with gods, monsters and Classical Greece plot wise, and some of then don’t half go on a bit, (I am looking at you Mr Handel). There aren’t actually that many C20 operas that have stood the test of time and get a regular airing. All this means then that the Tourist, especially since he isn’t going to drop £200 for a decent view at the Royal Opera House, or worse still some poncey gaff like Glyndebourne, on the off chance he might be converted, is condemned to see a lot of Mozart, Britten and contemporary opera. Which suits him but doesn’t really qualify him to write about it, even to himself. And he has never seen a Gluck opera, nor Fielio and suspects he might put up with any old nonsense story if Vivaldi’s music backed it up.
Which is why he has failed to document some of his more recent brushes with Mozart. But, with this Flute, once again with BUD as Sancho Panza to the Tourist’s Don Quixote, some clear patterns, worthy of comment, have emerged. Cases in point. We saw the Die Zauberflute at the Royal Opera House in October 2017. Nice perch. Stalls Circle to the side, nose to nose with the pit, though the rear of half of the stage was cut off. Sur-titles on a little screen on the ledge in front. So a strong showing musically, and in terms of the acting from the cast, but less impact from the set and from the libretto. Lesson one then. Having to look down at the translation doesn’t help. Which brings me to the wider, and contentious, claim. For me opera is better in English. Not because I can understand every word that is sung but because I might, particularly if the translation of the libretto captures the meaning, spirit and musicality of the original. As evidence I offer up Jeremy Sams genius offering for The Marriage of Figaro in the Fiona Shaw ENO production. You can berate me as much as you like but, if the singing, and sur-titles, make a connection, (in so far as that is possible when some soprano is going balls-out coloratura on what feels like the twentieth reprise of her showcase aria’s first verse), then the Tourist can start to find a way into the drama. Anathema to the purist but there it is. As for this ENO Flute, Simon Jeffrey’s pithy translation certainly did the trick.
Lesson two. Now I couldn’t tell you why but clearly some opera singers are better than others. Stronger, more powerful, more resonant, more accurate. a wider range, a better understanding of language, breath control, squillo, tessitura,rubato, vibrato, etc, etc. The ROH Flute definitely had the edge on the singing front, even with a “second string” cast when compared to this ENO Flute, (with the exception of Lucy Crowe’s Pamina). The ovation accorded to Greek soprano Christina Poulitsi after she nailed Der Holle Rache was something and well deserved. Goodness knows how excited the punters will have been after Sabine Devieilhe, the dastardly Queen for the other performances and the critic’s darling, squeaked her damndest. Yet, in terms of performance I preferred the ENO version because the singing, and for that matter the musical interpretation from the ENO Orchestra, fitted the drama more satisfyingly than the ROH production.
Which brings me to lesson number three, the most important of all. In opera the director really matters. That is, of course, also true in straight theatre but in opera, where there are so many interpretative decisions to be taken and where spectacle matters, the vision the director brings, can, in the Tourist’s limited experience, may a huge difference, particularly in drawing out the universal themes and creating a “look” that resonants with a modern audience in works that were written a few hundred years ago. Now there are some that are going to prefer their opera unsullied by the hand of the Regieoper. I certainly get that if the creative mind goes on to wild a bender the result can be a mess. On the other hand seeing something that emphasises the drama, the theatre of opera, and imposes some meaning, or at least insight, is more interesting to me than a straight, “period” interpretation, whatever that might be.
Not that David McVicar’s “classic” 2003 ROH production, revived for the sixth time by Thomas Guthrie, with design from John MacFarlane and lighting from Paule Constable, comes straight out unvarnished from 1791. But it does emphasise the “pantomime” and “set-piece” look, feel and structure of what I imagine to be Mozart’s, and his librettist Emmanuel Schikaneder’s, original Singspiel vision. Magic, fable, predictable comic turns from the boy Papageno, starry night skies, Masonic temples, swathes of primary colours, sharply delineated light and dark, some immense puppetry, a spiritual journey. All present and correct but it did jog on a bit and there wasn’t really a thread that held the whole together. The cast was sometimes overwhelmed by the scale of the set and the dramaturgy a little stolid. The daft story, and the aforementioned clash of philosophies, were showcased but nothing really connected.
Now in contrast Mr McBurney’s ENO version was a revelation. In part because he utilises the whole arsenal of typical Complicite aural and visual tricks, video projection, here with on-stage digital blackboard, on-stage Foley artist, a tilting, floating stage, fluttering birds simulated through sheaves of paper, orchestra players incorporated into the action on stage and singers descending into the raised pit and auditorium, to create a spectacle that highlights the artifice and wit of the theatrical experience, but also in the “magical” plot and in Mozart’s spectacular score. It is entertaining for sure but when it needs to make a point, the book-shelf to symbolise Sarastro’s Temple for example, it does. And, as if to directly address one of the banes of the Tourist opera attending life, there is constant on stage movement. No member of the cast is parked. to sing or otherwise.
The three ladies (Susanna Hurrell, Samantha Price and Katie Stevenson) taking snaps of the unconscious Tamino (a properly hunky Rupert Charlesworth) on their phones, the three alarmingly old looking boy spirits (Guillermo Fernandez-Aguayo Martin, Richard Wolfson, and Nat Fukui), Julia Bauer’s Queen of the Night careering around in her wheelchair, the video snake, the “boardroom” table, the coup de theatre trials by fire and water with video backdrop covering the entire width of the stage, a genuine Prosperian “philosopher king” Sarastro, (bass Brindley Sheratt was compelling), and a genuinely strong and courageous Pamina (Lucy Crowe is both the best singer and actor I have ever seen on an opera stage, though appreciate experience is limited), a gentleman of the road Papageno, (Thomas Oliemans) and come to think of it Papagena (Rowan Pierce), with the ability to translate frankly p*ss poor comedy into real pathos, a greasy, lank-haired Monostatos (Daniel Norman) who is pure creep. And a magic flute which literally takes centre stage. Mr McBurney has thought about how it all fits together, about the story he wants to tell, and then worked on every detail to make us believe that this symbolic, numerological gibberish is really saying something to us.
It is as well that Mr McBurney’s creative collaborators were up to executing the vision. At this performance Chris Hopkins took the baton from young Ben Gernon. Sounded fine to me. I have no doubt that chief amongst all this invention was associate and movement director Josie Daxter who has worked with SMcB on his other opera A Dog’s Heart and A Rake’s Progress in Amsterdam. And there there was the set design of Michael Levine, the costumes of Nicky Gillibrand, the lighting design of Mike Gunning, (based on the original work of Jean Kalman), the video of Finn Ross, the sound of Gareth Fry and the aforementioned on stage artists Ben Thompson and Ruth Sullivan.
Now just in case you opera buffs were thinking the Tourist is some sort of lightweight with a toddler-esque attention span that delights in directors upending operatic tradition I offer up a recent visit to the Royal Opera House and Cost Fan Tutte. Overall this was a fine night out with the SO, BUD and KCK for company with much to enjoy. Admittedly in a cheap (for a reason) box which restricted the view but still. It was Mozart, a fine, if not perfectly matched, cast highlighted by Thomas Allen’s Don Alfonso and Serena Gamberoni’s Despina alongside the menage a quatre of Paolo Fanale (Fernando), Gyula Orendt (Guglielmo), Salome Jicia (Fiordiligi) and Serena Malfi (Dorabella), and a barnstorming performance in the pianoforte continuo from conductor Stefano Montanari who amped up the tempi to good effect.
However Julia Burbach’s direction of this revival of German Regie Jan Philipp Gloger’s original production didn’t really work for me. I had seen the original at the cinema and was mystified by some of its conceits then. Same here live. I get the notion that it is daft to believe that our funny lovers, even when the lads are dressed up as “east” Europeans, wouldn’t recognise each other, but it is equally daft to presume that they are all deliberately playing along to rediscover love and something about themselves. So we enter Don Alfonso’s School for Lovers, after a performance of the opera has ended, the scenes are played out in a rehearsal of the opera itself, with stagehands milling about and putting up each of Ben Bauer’s inconsistent designs ahead of each scene, there is plenty of implied guff about defining and reclaiming identity and the sexist title is repurposed to include us all rather that just the “women who are like that” with a simple replacement of an “e” by an “i” – tutti you see. All is artifice, all is deceit, and that includes you audience.
I get the idea. The problem is the plot and libretto. There is no way round it. This story and the words da Ponte sets to Mozart’s glorious sounds to tell it are sexist claptrap. So the gap between what Herr Gloger wants us to understand is the message and what we hear (or more exactly, read in translation) just gets wider and wider. Nothing wrong with director’s manipulating and mining sacred texts to resonate with contemporary audiences and to repurpose the arguments and nothing wrong with exploring the dissonance between what was acceptable then and what is acceptable now but there has to be some internal logic and clarity in what we see and hear that doesn’t require a download of the programme notes in advance to understand.
And the performers have to be convinced by the director’s vision that no-one here is convinced by what they are doing or singing. I don’t think they were, with perhaps the exception of Serena Malfi. So neither was I. Better to recognise the reality of the first, misogynist, take on the opera, and then start to tease out the ironies that might exist in da Ponte’s texts and Mozart’s music. It might not entirely paper over the ugly stereotypes at the heart of the “comedy”, nor the fact that it does go on a bit, but there is plenty to work with in the right hands, as with Shakespeare’s more cloth-eared passages, and, failing this, there is always the music and the farce.
Right that’s the state of play in the Tourist’s head Mozart opera wise. Until the next time when he will likely entirely reverse his opinions.