Tag Archives: simon rattle

EIF: LSO/Rattle | Phaedre/Minotaur | The Threepenny Opera

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Usher Hall / Lyceum / Festival Theatre, Edinburgh

As befits an Edinburgh Festival posing a question about the direction of travel in this century, the third weekend of the programme offered an excellent opportunity to hear and see crucial works of the last one.

Olivier Messiaen’s Turangalila-Symphonie, Benjamin Britten’s dramatic cantata Phaedre and Kurt Weill’s breakthrough music-theatre work Die Dreigroschenoper are all essential to an understanding of the art of their creators, even if the Britten is from the very end of his life.

Phaedre has not been heard at the Festival for almost 20 years and this staging by Deborah Warner featured a visceral acting performance from mezzo Christine Rice that made the work a chamber opera. Using a piano version of the score, played with percussive propulsion by Richard Hetherington, the instrument itself became one of the simple props (alongside sheets, a chair, shoes) at her disposal.

If the structure of the work is Handelian, the emotional heft of Britten’s setting of Robert Lowell’s text is searingly contemporary – the work is not yet half a century old. Rice conveyed the passion of her character’s incestuous love powerfully, but more moving was the mix of wistfulness and regret she found in the work’s closing bars.

Warner partners the work with a danced version of the story of Phaedre’s sister Ariadne, played by Royal Ballet artist Isabel Lubach. The sound collage by Eilon Morris was a long way from Britten but its broad palette served the classical line of Kim Brandstrup’s choreography well, Lubach partnered by Tommy Frantzen and Jonathan Goddard.

The work of Elizabeth Hauptmann that Bertolt Brecht used in the writing of the adaptation of John Gay’s The Beggar’s Opera half a century earlier is no longer unacknowledged. Australian director Barrie Kosky’s Berliner Ensemble production of The Threepenny Opera may be very self-consciously “Brechtian” in much of its conception, but he is as admiring of Brecht’s collaborators, especially composer Kurt Weill.

The score was performed by an authentic seven-piece pit band led by Adam Benzwi from piano and harmonium, and the singing actors had varying levels of musical ability, with Gabriel Schneider’s charismatic Macheath and especially Bettina Hoppe’s soulful Spelunken-Jenny the best of them.

The distancing achieved by Rebecca Ringst’s somewhat grandiose designs – six tall multi-platformed towers moving up and down stage on rails – might have fitted Brechtian philosophy, but while the performers went out of their way to engage with the audience front-of-cloth, they only rarely engaged with one another. Doubtless this was deliberate, but it sometimes made the Festival Theatre stage look very large for the show. And for a script with a lot of sex – and a Kosky production – it wasn’t very sexy.

Olivier Messiaen’s Turangalila is all about sex, alongside the Tristan and Isolde myth, Eastern music, birdsong, and his devout Catholicism. The fact that the composer saw no contradiction in any of these elements is what makes it so thrilling.

There will be few performances of this massive piece from the mid-point of the 20th century as thrilling as the one by the London Symphony Orchestra and Sir Simon Rattle that brought the orchestra’s Festival residency to a close. There was a real sense of occasion before a note was played, as Rattle’s tenure as music director of the LSO comes to an end, Festival director Nicola Benedetti opening the evening’s two concerts with a lavish encomium to Rattle’s place in British music.

He reacted, as he only could, by moving swiftly on to talk about “The Road to Turangalila”, the title given to the three works in a preceding early evening concert that influenced Messiaen’s masterpiece. His comparison of Pierre Boulez’s reaction to the work with Fringe perennials The Ladyboys of Bangkok, encamped across Lothian Road, was wittily provocative.

The Fanfare from La Peri by Dukas, Milhaud’s La creation du monde, and Debussy’s La Mer paved that road. If 11 LSO players made the fanfare sparkle and the full orchestra gave a wonderfully rich account of the Debussy, with terrific soloists and a choral quality to the strings, the Milhaud was the revelation.

An alto sax has the lead line at the start of the piece, but the jazz content of this 1923 piece really kicks in with arco bass and a “Hot Five” front line of trombone, trumpet and clarinet from the 20-piece ensemble. Here was evidence from this side of the Atlantic to support Duke Ellington’s argument against labelling genres of music.

If jazz and movies are the great cultural developments of the 20th century, Turangalila is the musical expression of widescreen cinemascope. Rattle’s partnership with pianist Peter Donohoe on this work goes back to his time with the City of Birmingham Symphony Orchestra, and Donohoe was as important as the LSO to the spectacular success of this rendition. So too, of course, was Cynthia Millar at the ondes Martenot, with its unique swooping proto-synthesiser sound, but it was always very carefully placed in the mix, and the other solo voices in the orchestra, as well as every detail of the percussion (requiring 10 players), were equally favoured.

Beyond argument, Turangalila was one of the events for which Benedetti’s first Festival will be remembered; the fact that the Usher Hall was full for the concert was also a notable achievement.

Keith Bruce

The Comic Opera Man

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Composer Jonathan Dove talks to KEITH BRUCE about Flight and a possible Scots premiere for his newest work

Although American Jake Heggie, less than two years his junior, out-scores him internationally, on this side of the Atlantic composer Jonathan Dove is the most produced contemporary opera composer of his generation.

Among performers, and some directors, that status might come with airs and graces, and even diva-like behaviour. Composers? Not so much.

So when the Royal Conservatoire of Scotland’s head of opera studies Philip White requested a reduced score of one of Dove’s biggest hits, Flight, to meet the strictures of social distancing in the pit of the New Athenaeum Theatre in Glasgow during the pandemic, the composer immediately sat down and re-wrote his work for 19 players.

In the event, further restrictions made it impossible to stage the production at all until earlier this month, when it happened to coincide with the RSNO and theatre company Visible Fictions taking a newer Dove work, Gaspard’s Foxtrot, setting the children’s stories of Zeb Soanes, out on the road to primary schools as well as presenting it on the orchestra’s digital platform.

There, in a nutshell, was the range of Jonathan Dove’s work for the stage, and the main ingredients of his compositional life, if Scots music-lovers were minded to explore it, although his full catalogue stretches into many other areas of orchestral and chamber music, as well as songs.

“I am always happiest if I have an opera project on the go or on the horizon,” he told me on the day James Bonas’s production of Flight at the RCS finally opened. “I describe myself as a musical story-teller, even when it is not an opera, like Gaspard’s Foxtrot with Zeb Soanes and the RSNO.

“The RSNO co-commissioned it and they’ve done a lot with it. Writing songs and choral pieces is also story-telling, but it is a Peter and the Wolf kind of piece – that is very obviously the model.”

As for Flight, it is a work that has been performed all over the world since 1998, with Scottish Opera’s adapting an Opera Holland Park staging in 2018.

Rosalind Dobson as The Controller in Flight at RCS, picture by Robert McFadzean

“There have been two productions this year in the US alone, one in Utah and one in Dallas, and over the years people have asked for a slim down version, so I knew there was some demand for that. But I hadn’t had time and I didn’t want anyone else to do it, because I didn’t trust them to do it well.

“I came to Glasgow specifically to hear if the new orchestration works, and I think it helps that it is a bit leaner for young voices. I am obviously very pleased that Flight is seen in conservatoires. There is something for every voice type in it: a stratospheric soprano, a lyric soprano, a counter tenor and a bass alongside tenor, baritone and mezzo-soprano.

“It is quite a good showcase, although that wasn’t what I was thinking when I wrote it. For me the airport was a sort of microcosm of a community. But you get know these people but you also get to hear them singing in quite a lot of states and moods, so you can hear what people can do.”

Lindsay Johnson as Minskwoman in RCS Flight

Making the reduced version of the orchestral score took Dove back to his own beginnings as an opera composer, and to memories of the man who was a mentor in the process, director Graham Vick, who died last summer after contracting Covid-19.

“A very important part of my musical education in my twenties was re-scoring masterpieces of the operatic repertoire for his touring company. I rescored La Cenerentola, The Magic Flute, Falstaff, La boheme and The Ring for orchestras of between 15 and 18 players.

“Graham was a shockingly late victim of the pandemic, just when you thought the world was getting safer. It was really only after he died that I saw clearly how much he had changed my life. Re-scoring masterpieces of the repertoire and seeing him direct them was an amazing education.

“The most important experience was one particular production, an Opera North outreach project with West Side Story in a disused cotton-mill. That production introduced me to so many things. At that point I was assistant chorus-master at Glyndebourne, but the experience of working with 200 people from the community in that production was a revelation – how hungry they were for it.

“That was very different from working with a professional opera chorus – they’ve trained for that, they know that they can do it. That show introduced me to community opera, and to site-specific work and promenade performance. At that moment I never wanted to see another proscenium-arch production, because it was so much more involving.”

If Dove has now rowed back from that position it was not before he had taken the lessons of Vick’s work and applied it to his own practice – a journey that led to his breakthrough opera.

“I wondered what it would be like if the community cast were telling their own story and not a New York story. Around the same time, Glyndebourne was thinking about an opera involving a couple of school and I said: ‘Why not involve a whole town?’ So we did that in Hastings with about 200 people, including any musicians and performers that wanted to be in it. There was the Boys Brigade band, there was a symphony orchestra, there was a yodelling harmonica player and Morris dancers.

“Another one followed in Ashford where there was an accordion club and a guitar orchestra and a rock band, and then one in Peterborough, and I found things for them all to do, and it always felt like the most unquestionably worthwhile thing that I was doing.

“The total experience of everyone in it, and what they learned from it – that was my road to Damascus experience. Those three community operas for Glyndebourne led directly to them commissioning Flight, which is still the work of mine that people most often tell me that they have seen.

“So it was from Graham I got the belief in opera as a medium whose importance should not be restricted to opera houses: that mission that opera is for everyone. He was a unique spirit.”

The relationship with the director continued, notably with 2012’s adaptation of Pedro Calderon de la Barca’s play Life is a Dream for Vick’s Birmingham Opera Company. Dove’s other operas have drawn on classic novels (Jane Austen’s Mansfield Park), the troubled life of Buzz Aldrin (Man on the Moon) and the death of Princess Diana.

Parallel with those have been the works for young people, from Tobias and the Angel in 1999, via The Adventures of Pinocchio in 2007 to 2015’s The Monster in the Maze, based on the classical tale of Theseus and the Minotaur and created in partnership with conductor Sir Simon Rattle.

“It is the opera of mine that was been translated most. It was a co-commission between the Berlin Philharmonic, the London Symphony Orchestra and the Aix festival, so there were three productions just weeks apart, all conducted by Simon Rattle, in German, English and French.

“It was also done in Taiwan in Cantonese and Taiwanese and I couldn’t get to that, but I have seen it in Swedish, in Portuguese in Lisbon and in Catalan in Barcelona, where it has now been done three times.”

The Dove children’s opera currently on his desk is for Zurich, based on Jules Verne’s Around the World in 80 Days, with Act 1 already completed.

Philip White’s students at the Conservatoire staged 2015’s post-Apocalypse The Day After as a sort of companion piece to the Scottish Opera Flight four years ago, and Dove’s most recent work for an adult audience, Marx in London, was first seen in Bonn and could be destined for a Scottish outing soon.

“Marx in London was the idea of director Jurgen Weber, who had directed an amazing production of an opera of mine, Swanhunter, written for an intended audience of teenagers. His idea was that Marx’s life was like a farce and that it would make a good comic opera.”

With a libretto by Charles Hart, whose past work includes Lloyd Webber’s Phantom, Marx in London premiered at the end of 2018, when it was co-produced by Scottish Opera. At the time there was speculation that the production might be seen in Scotland in 2020, and if it is still on the cards, Dove cannot confirm.

“Scottish Opera have made a financial commitment so it would be natural if they were the first to do it here,” he says. “There are still hopes that it will be staged in the not too distant future.”