Tag Archives: Stuart Stratford

Scottish Opera: Tristan und Isolde

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Usher Hall, Edinburgh

It has become a convenient cliché for cash-strapped companies that the operas of Wagner are best served by minimalist stagings, and Tristan und Isolde is probably the work where that approach is most established.

Concert performances have the huge advantage of the visibility of the orchestra at work, and – especially in this one – those crucial moments when the musicians, singers as well as players, are not visible, but audible from offstage.

In fact this staging was much more than a concert, fully costumed in quasi-medieval style by Scottish Opera’s Lorna Price (in her last show before moving to Glyndebourne), directed by Justin Way, and performed on an apron stage built out from the platform. A second conductor (Toby Hession) was working for the singers from a specially-constructed prompt box, to supplement main man Stuart Stratford’s video-relayed  direction on the podium behind them.

If it was a compromise, it was a hugely successful one. There was just one moment in Act 3 when tenor Gwyn Hughes Jones struggled to make himself heard over the swell of the score, and the balance between singers and orchestra, off-stage and on-stage elements, solo instrumental voices and ensemble precision (particularly all sections of the strings and Sue Baxendale’s horns) was nigh-on perfect all night.

Tristan und Isolde is remembered for its set pieces – the Act 1 Prelude and Act 3 Liebestod and the rapturous duet of Act 2 – but those are part of a narrative flow of music that was, and should still sound, revolutionary, as it did here. Stratford’s shaping of the whole work, every note serving the story-telling, was always captivating; longeurs were there none in over four hours of music.

The cast had lost its King Marke – Richard Wiegold, a veteran in the role, stepping in – and was vocally superb from title roles to the smaller parts, and not excepting the boisterous twenty seamen of the male chorus in Act 1.

Katherine Broderick was imperious as Isolde, consistently delivering those high notes in Wagner’s demanding music from her first entrance to the final scene, seemingly without effort. If the voice was astonishing, the nuances of her acting performance were just as remarkable. This was a fully realised, and deeply flawed, Isolde.

Matching her was mezzo Khatuna Mikaberidze’s Brangane, similarly characterful and powerfully sung, allied to accomplished handling the staging’s few essential props.

If Gwyn Hughes Jones initially seemed to be holding something back, his stoic, even cynical, performance also hinted at an intriguing Tristan that never quite emerged. Perhaps that ambiguity was deliberate, however, as a counterbalance to the ebullient loyal enthusiasm for his master from his batman, Kurwenal – a terrific turn from Korean baritone Hansung Yoo.

Leaving the hall’s platform to the orchestra, the principals made all their entrances and exits to their playing area via the stage-side auditorium doors, and a plinth that incrementally lost sets of steps on either side to become Tristan’s death-bed in Act 3 was the only additional staging. It was also the excuse for the only slacking of pace in the drama when Hughes Jones or Weigold sat on it and there was a suspicion that it was not their characters who were taking the weight off their feet.

For those of us sitting out in the auditorium, this was a five hour feast (including two longer intervals) that passed with remarkable swiftness. The suggestion is that the company plans more Wagner presented in similar style in seasons to come, and that is an enticing prospect.

Keith Bruce

Picture: Khatuna Mikaberidze as Brangane and Katherine Broderick as Isolde, credit Christopher Bowen

Scottish Opera’s new season

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The new season unveiled by Scottish Opera marks a decade in post for Music Director Stuart Stratford, and it has been one of company stability and notable artistic successes. Before talking about what’s to come, he identified his own highlights of those ten years.

“I always feel there is still so much to do, but Puccini’s Il trittico was a highlight for the whole company. It was a major project for us. There are also the collaborations which produced Greek, Breaking the Waves and Ainadamar, which has gone to Detroit, Houston, the Met and Los Angeles but originated here.

“Then there are the community pieces, like Pagliacci in Paisley, Candide at Edington Street and Oedipus Rex at the Edinburgh Festival – those are the kind of projects we’re really interested in as a company.

“And there are the rare operas. It was great to have given the Scottish premiere of Daphne by Richard Strauss, and Scottish Opera should always be championing unusual pieces as well as the core repertoire.”

That said, the 2025/26 season, unveiled as the company opens a new production of The Merry Widow at Glasgow’s Theatre Royal, has just the one show that really ticks the boxes for innovation and adventurousness. Like this year’s Edinburgh Festival programme and the coming season from the RSNO, it has all the hallmarks of being signed off in straitened times.

The exception is the world premiere of The Great Wave, a new work by Japanese composer Dai Fujikura and Scots librettist Harry Ross, best known in his native land previously as the producer of the award-winning presence of the British Army at the Edinburgh Fringe – “a foil to the Edinburgh Military Tattoo” as The List magazine put it.

Fujikura’s previous successes include an operatic version of  the Stanislaw Lem novel Solaris, and The Dream of Armageddon, based on an H G Wells short story, both of which involved Ross.

The new piece is the story of Japanese artist Katsushika Hokusai and his daughter, Oi, and is being co-produced with KAJIMOTO, who will present the work in Kyoto and Tokyo.

Says Stratford, who will conduct: “Fujikura’s music is quite eclectic, avant garde meets Japanese mimimalism, and in this piece there is a big role for the shakuhachi, a Japanese flute, which gives it  a really interesting sound-world.”

The other main house shows in the season are revivals: the Barbe and Doucet La boheme from 2017, which the pair will return to direct, with Hye-Youn Lee also returning as Mimi, and Sir Thomas Allen’s The Marriage of Figaro, back for another run but sung in English this time.

As with The Barber of Seville, Stratford believes the production will be reinvigorated by the change.

“There we saw a development in the performances and a renewed connection with audiences in the refreshed version. Boheme, on the other hand, I think loses some of its attraction if it’s not in Italian.”

Earlier next Spring, the Theatre Royal will also see a Saturday afternoon concert performance of Wagner’s Tristan und Isolde, repeated during the following week at Edinburgh Usher Hall, and Stratford says that is a taster of a new commitment.

“It was 2013 when we did The Flying Dutchman, so it is high time we tackled some Wagner, especially as the orchestra is playing as well as it has ever played – so you’ll see more in the coming years.”

As has become its custom in the past decade, the company starts its new season in Haddington at the Lammermuir Festival. This year that is a double bill, pairing comedies of infidelity, Walton’s The Bear and Ravel’s l’heure espangnole, which will be part of the festival’s commemoration of 150 years since the birth of the French composer. As has happened only more recently, the operas will also be seen later in both Glasgow and Edinburgh.

Although there is no staged community production this year, that work goes on, in primary schools as part of the Glasgow 850 celebrations, with the building of a children’s chorus that will feature in main stage shows, and with the establishment of an Edinburgh branch of the adult community chorus, mirroring the Glasgow one and following on from the work for the EIF Oedipus Rex.

Full details of the new season can be found at scottishopera.org.uk

Scottish Opera: The Strauss Collection

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Glasgow Royal Concert Hall

For all that they contain fabulous music, have boasted the finest singers, and offer an onstage showcase to Scottish Opera’s excellent orchestra, the company’s Composer Collection concerts increasingly seem to fall between stools: neither the full score nor the greatest hits of the operas or their creators.

The poor attendance for this concert of three chunks of Strauss from his partnership with Hugo von Hofmannsthal perhaps suggests that such misgivings are commoner than the company might hope, but for aficionados of opera the inclusion of four selections from the pair’s rarely-performed final collaboration, Arabella, was the main attraction.

They included the only solo aria of the programme, from Roland Wood as Mandryka, but fans of the baritone had to enjoy that one brief moment in the spotlight because the main focus of the concert was on the female soloists, mezzo Hanna Hipp, and sopranos Rhian Lois and Helena Dix.

Dix conveyed the flighty nature of Arabella with ease. She and Lois, as her sister Zdenka, were a excellent double-act in the opening duet, full of conversational virtuosity, while she and Wood combined in the two duets that gave a flavour of the development and denouement of the plot. The respectful word-setting of the composer, whose librettist died years before the work saw the stage, was evident, while much of the best music came from the orchestra, conducted by Stuart Stratford, who was all over the dynamic details of the score.

The 1933 work was preceded by a section of the Prologue from the 1916 revision of Ariadne auf Naxos, which used all four singers but was built around the growing infatuation of The Composer (Hanna Hipp) with Zerbinetta (Lois). With Wood singing The Music Master, it also introduced Helena Dix, the superstar of the line-up, in the best possible way, as The Prima Donna. Theatrical tantrums rarely sound as good as this, with orchestra leader Tony Moffat and the wind soloists the instrumental stars of the smaller ensemble.

A much fuller orchestra took the stage for Arabella and the sequence from Der Rosenkavalier that followed the interval. Dix was, of course, The Marschallin, Hipp was also superb as Octavian, and Lois sang Sophie in three well-chosen sections from each of the acts, all three women emerging in a change of costume to bring some sense of a gala to the occasion.

It was as much of a delight, however, to be able to see as well as hear the players producing the details of the fabulous orchestral score, down to the tiniest details of hand percussion and including crisp, precise playing from the brass and winds.

As a concert programme, repeated at Edinburgh’s Usher Hall this evening, this tasting menu of Strauss was undoubtedly a success, but perhaps the company’s resources might have been better deployed on a full performance of the Arabella score, with the involvement of a stage director, in the mould of another strand of its recent work.

Keith Bruce

Hansel & Gretel

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Paisley Town Hall

Stories for children are full of warnings, and there was another for English National Opera in the new concert staging of Hansel & Gretel that Scotland’s national company created for the rejuvenated Paisley Town Hall’s inaugural season: if you employ your orchestra on a part-time basis, you create contractual obstacles to making the most of your work.

Perhaps there were other elements in the decision, but it seems likely that the cost of employing its own orchestra was the major factor limiting this vibrant, compact expression of Humperdinck’s gorgeous score to just two performances. Some might say that sold short the brilliant young cast (of singers the company can be justly proud to have nurtured), the Junior Chorus of enthusiastic children, the good people of Renfrewshire and their very splendidly restored venue.

Still, as Dr Seuss says, don’t be sad that it’s over, be glad that it happened. I look forward to seeing a big budget production from Roxana Haines, but once again the company’s former Staff Director has produced the goods with slender resources, using the venue it was designed to showcase creatively with singers making entrances from around the auditorium. The stage itself was largely occupied by the orchestra, with music director Stuart Stratford on the podium, and that was nothing but an asset, with every detail of the music in perfect balance, not excepting the voices of the choir of youngsters who were directed from the front row of the stalls by Susannah Wapshott.

From the opening of the overture – a piece of orchestration that should be heard more often as a standalone in the concert hall – it was evident that Paisley’s lovely hall has a very good acoustic and it was notable, and a credit to the conductor, that while the brass and horns were clear and sparkling from the start, the voices of Lea Shaw and Catriona Hewitson in the title roles were always absolutely at the top of the mix.

Both former Emerging Artists with the company, and Shaw still an Associate, their voices blended immaculately and they inhabited the front stage with engaging skill. Using David Pountney’s English translation, there were a lot of words to deliver clearly and at pace, but the diction of both was exemplary and always in the service of the music – and the magnificent melodies Humperdinck wrote.

Ukranian soprano Inna Husieva, a current Emerging Artist, was perhaps a little less clear in the words of the Sandman and Dew Fairy, but sang beautifully, while her colleague on the scheme this season, baritone Ross Cumming, is a performer of great skill with a rich tone who made Peter, the children’s father, more genial than he can sometimes be portrayed. The parental ambiguity was left to Shuna Scott Sendall to express, and she drew a fine contrast between mother Gertrude, victim as much as oppressor, and her doubling as a malign but cartoonish Witch. The mezzo was a late substitute for Heather Ireson and clearly not in the best vocal health herself but she gave her all in performance.

Stratford’s tempi were spot-on in an interpretation that made a joy of the opportunity to see the players in details like orchestra leader Tony Moffat’s blackbird as the children awake in Act 3. When the conductor’s baton (not that he uses one) was repurposed by Hansel & Gretel as a wand to undo the Witch’s magic it was a nice directorial expression of exactly how precisely the composer’s classic score works.

Keith Bruce

Picture of Shuna Scott Sendall (Witch) and Catriona Hewitson (Gretel) by Sally Jubb

Scottish Opera: Il trittico

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Theatre Royal, Glasgow

When Scottish Opera first announced its 2022/23 60th anniversary season, the plan was for Sir David McVicar to stage all three short operas of Puccini’s Il trittico on the one set with an ensemble cast. At some point along the line that bold notion fell by the wayside, and only one singer – soprano Francesca Chiejina, making a memorable company debut – appears in all three pieces (as does actor Keith MacPherson in small silent roles, including the lively corpse of Buoso Donati in Gianni Schicchi).

The set designs, by Charles Edwards, who is also working with Scottish Opera for the first time, are grand and bespoke for each story, to the impressive extent of a moving barge docking at the quayside at the start of Il tabarro (The Cloak), and the splendidly angular tapering perspective of the cluttered room where Donati dies and Schicchi tricks his family out of the juiciest cuts of his estate.

In between sits the problem piece of the trio, Suor Angelica, the convent-set story of an unmarried mother, a child given up for adoption, another family legacy and the mortal sin of suicide. As mezzo Karen Cargill – terrific in the piece as Angelica’s domineering aunt, “The Princess” – promised in her interview with VoxCarnyx, McVicar manages to redeem Sister Angelica with an inspired staging of the work. Alongside Cargill there are characterful cameos from Chiejina and Scottish Opera Emerging Artist Lea Shaw, and Edwards and McVicar have created what is one of the best uses of a staircase in music theatre since The Sound of Music.

The other crucial ingredient is the performance of Korean soprano Sunyoung Seo in the title role. Another company debut, she is a real find, with a glorious voice across her range, quite thrilling at the top and full of emotional heft, combined with a magnetic stage presence and acting skill. The ending of Suor Angelica has been condemned as sentimental nonsense, but she, and the young lad playing the ghost of her dead child, made it genuinely moving in McVicar’s staging.

She is just as effective as Giorgetta in the soap opera love triangle of Il tabarro, for all its cliches of melodrama. Her complex characterisation matches that of Roland Woods as her barge-skipper husband Michele, and her voice is well paired with that of Russian tenor Viktor Antipenko as Luigi (yet another company debut).

There are no weak links in the vocal casting in those first two operas at all, and that high standard of musicianship on stage is paralleled in the pit across the whole evening, where conductor Stuart Stratford steers a huge orchestra, including some exotic instrumental colours, through a terrific account of a score that is Puccini at the very pinnacle of his powers.

Where Il Tabarro and Suor Angelica are immaculately paced by McVicar and Stratford, Gianni Schicchi comes roaring out of the blocks like a whippet on speed – a riot of colour in set, costumes and sound, and delighting in its hectic ‘70s sitcom aesthetic. That frantic activity builds to Lauretta’s showstopping aria O mio babbino caro (the best-known music in the whole four hours and Francesca Chiejina’s big moment) and then runs out of steam. Woods is fine as Schicchi, but not as funny as some of the Donati family clowning around him, and marooned upstage for too much of the time.

It is an odd lapse by McVicar, who is a master of naturalistic theatrical narrative in opera, but the broad comedy of the most often seen part of this trilogy fails to communicate as confidently as the tragedy of the two earlier tales.

Keith Bruce

Scottish Opera: The Verdi Collection

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City Halls, Glasgow

Although it is, for some obscure reason, lousy at labelling them – the non-mainstage strands of its activity are often lumbered with the most prosaic of titles – Scottish Opera has long been highly adventurous in the different ways it goes about selling the artform to the widest public. Those who moan about the reduced number of fully-realised productions it can afford to mount rarely give the company proper credit for that.

If it is “opera in a car park” you want, and apparently the Arts Council of England is particularly keen on that, Scottish Opera blazed a trail during the pandemic. It was also ahead of the game with filmed work, and its work with young people, the mentoring of emerging singers, and outreach into the wider community, has decades of productive history – making last year’s astonishing Candide not the one-off wonder it seemed to some.

Since the arrival of Stuart Stratford as Music Director, there has also been the addition of regular concert performances of rare gems – particularly lost works by Puccini and Mascagni – that are also important in showcasing the strengths of the Orchestra of Scottish Opera, restoring its profile after the musicians were given part-time contracts as a cost-saving measure.

The Verdi Collection is the latest development of that strand, four dates in the current season following a one-off Puccini gala in Dundee’s Caird Hall in December 2021. It would not be unkind to say that the format currently falls between stools as it tries to both please seasoned opera-goers and entice new audiences.

As Stratford introduced it, the programme was an exploration of the mature work of Giuseppe Verdi, from La traviata to Otello, although not in that order, as well as being a celebration of “the beating heart of the company”, its orchestra. In that latter aim, it was a magnificent success. There is a warmth to the string sound of the opera orchestra that is all its own, and there were some high quality solo turns from guest first cello Thomas Rann, clarinettist Kate McDermott and the always-distinctive oboe of Amy Turner. Only once – although regrettably at the climax of Violetta’s aria in Act 2, scene 1 of La traviata – was the onstage orchestra too loud for the singing to be heard properly, and Stratford’s balance of his ensemble was generally impeccable.

That extract, however, highlighted both the strengths and the weaknesses of the concert. The opera’s titular “fallen woman” was sung by Japanese soprano Eri Nakamura in one of many company debuts among the soloists. If this was in preparation for her featuring in Scottish Opera’s future plans we shall be fortunate indeed. In partnership with tenor Peter Auty and, especially baritone Lester Lynch in that piece, as Amelia in an aria from the end of Un ballo in maschera, Leonora in La forza del destino, and, supported by Edinburgh mezzo Katherine Aitken’s Emilia, as Desdemona in Otello, Nakamura revealed a dramatic assurance paired with a superbly articulate and versatile voice.

South Korean bass Jihoon Kim will also be welcome back anytime. He stepped in here to replace Brindley Sherratt, having been part of the entirely different cohort of singers in November’s performances of The Verdi Collection in Aberdeen and Inverness. He has an enormous vocal instrument for his compact frame, and although less mobile than either Nakamura or Auty, used it very expressively.

It is plain that the aim of these “Collections” is to go beyond the gala concert of showpiece arias without their context, and impart a sense of the drama and storytelling of the artform by presenting longer extracts, but that does mean the conductor and his team are trying to cover a lot of bases. Perhaps there was more of a sense of the whole of La traviata than of any other work in the programme, but it did take up a lot of the evening. And the whole concert may have been a value-for-money ticket, but it clearly exceeded the attention-span of some in the audience, who elected to slip away.

Lots of good stuff, then, but sometimes it is true that less is more.

Keith Bruce

Scottish Opera: Candide

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40 Edington Street, Glasgow

Where do you want opera to take you? Lisbon, Paris, Buenos Aires, Suriname and Venice? Check. On a philosophical journey, along the catwalk and to fleshpots and sex dungeons? Check. Into war zones, across viciously-patrolled borders and on an inflatable boat to a new life as a refugee? Check. From one of the most familiar overtures in 20th century music through less well-known terrain that is filled with echoes of the scores to stories old and new that you already know? Check.

Scottish Opera’s new production, programmed with admirable cheek at the peak of the Edinburgh Festival and Fringe, has an extravagant address of its own: Live at No 40, New Rotterdam Wharf, on the canal side of the company’s technical centre in Edington, beyond where it staged La boheme and Falstaff during lockdown. What the company has purpose built in a vast rigid tent, filled with platforms, containers, curtain-sided trailer and trucks that become the stages, is an event – and one that everyone who loves opera, musical theatre or spectacle should rush to see. It is also an ideal introduction to any of those to the uninitiated.

The company has a significant history with Leonard Bernstein’s long-in-development adaptation of Voltaire. At the end of the 1980s, then music director John Mauceri undertook a major revision of the work by his mentor, and Lenny himself became involved in the latter stages of a revival that resulted in the “Scottish Opera version”, which is, of course, the basis of the new production.

I’d wager, however, that neither Mauceri nor Bernstein could have envisaged what director Jack Furness, conductor Stuart Stratford and their respective teams have created for this 21st century staging. Utterly true to both Voltaire and Bernstein – and using the long list of wordsmiths who have contributed to it, Lillian Hellman, Stephen Sondheim and John Wells among them – this is a Candide that is a bold satirical swipe at the ills of the world today: social media, pornography, perilous journeys by refugees, sleazy politicians and aggressive miliary invasions among them.

It is also a story of love winning out against the odds, and a vehicle for some of the most hilarious slapstick broad humour and slick verbal wit, while containing sumptuous music that may well find you choking back tears at times.

The number of performers involved in creating this rich spectacular is huge. Prominent on the central raised platform are Stratford and the orchestra, playing at their best, and largely confined to their station, although one clarinet does go walkabout. Everything else is constantly in motion; when Candide’s journey reaches Venice Carnival the gaming tables are all around us and the action and singing projected from all points of the compass in quite dizzying style.

But then, it all began in that way, with the chorus suddenly revealed as being amongst the paying public promenading in the arena. That ensemble is also revealed as being a multi-ethnic, many-aged collective with professional singers among them. They move brilliantly together, with many individual step-out moments, and sing with passion and precision; this choir sounds brilliant.

The principals would have to be on their mettle to match them, and this cast certainly is. Levels of experience range for Scottish Opera Emerging Artist Lea Shaw to company stalwarts Susan Bullock and Jamie MacDougall, with Ronald Samm (Dr Pangloss) previously featuring in ScotOp’s Pagliacci in Paisley, the recent production this most closely resembles.

The three young singers at the heart of the tale, Dan Shelvey as Maximilian, Paula Sides as Cunegonde, and William Morgan in the title role are all quite superb performers in spectacular voice, up for everything that Furness throws at them in his brilliant re-imagining of the work.

But that goes for everyone performing, and – on the evidence of the first night – for the audience as well.

Keith Bruce

Further performances August 13, 14,16, 18 and 20.

Picture  (l to r) William Morgan (Candide), Paula Sides (Cunegonde), Lea Shaw (Paquette), and Dan Shelvey (Maximillian). Credit James Glossop.

Festival Gala / Scottish Opera

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Perth Concert Hall

The Perth Festival has changed markedly over its 50 years, but as it celebrates that Golden Jubilee, a determination to present opera as part of the annual event remains a commitment. This year’s staged performance arrives at Perth Theatre next week in the shape of Opera Bohemia’s Madama Butterfly, and for many years it provided the only Scottish opportunity to see English Touring Opera and some very fine singers at the start of their careers. Before that John Currie masterminded the festival’s own bespoke productions, but in 1972 it was Alexander Gibson’s Scottish Opera company who brought two productions to the first festival, so it was fitting the national company provided this year’s opening gala concert.

Fitting, but perhaps also a little surprising, in that Scottish Opera has its hands full at the moment, with the revival of Don Giovanni newly opened in Glasgow and its own 60th anniversary season just announced. That meant the orchestra, conductor Stuart Stratford, and one of the quintet of young vocal talent on stage had been performing the previous evening in the Theatre Royal with only the smallest overlap in the repertoire they played in the Fair City.

That Don Giovanni duet, La ci darem la mano, teamed young mezzo Lea Shaw, who sings Zerlina in the touring production, with Jonathan McGovern, who takes over the title role from June 9. It opened a Mozart sequence that also featured Eleanor Dennis as the Countess in The Marriage of Figaro and McGovern duetting with Catriona Hewitson as the Magic Flute’s Papageno and Papagena.

After the interval, that section was mirrored by the music of Puccini where the Intermezzo from Manon Lescaut was bracketed by Hewitson singing O mio babbini caro from Gianni Schicchi and McGovern the very much less often heard Questo amor, vergogna mia from the composer’s early Edgar.

Neither of those parts of the substantial programme included the undoubted star of the evening, for all the quality of the singing throughout. Scotland’s Cardiff Singer of the World winner, Catriona Morison, was a compelling presence whenever she was on stage as well as being, with Stratford, an architect of the shape of the evening.

Her music was all in French and German, beginning with a sequence from Bizet’s Carmen that also involved Hewitson and Shaw as Frasquita and Mercedes, and then McGovern singing the Toreador’s song. Hewitson also partnered her in music from Massenet’s Werther and provided the Sandman to her Evening Hymn with Dennis as Hansel and Gretel. Those three also brought the programme to a close with music from Strauss’s Rosenkavalier which was, apparently, as much a treat for some members of the orchestra as the audience.

In fact the instrumentalists had the meatiest music of the night, in the instrumental interludes, in the appropriate opening fanfare of Shostakovich’s Festive Overture and then the Overture to Wagner’s Die Meistersinger, which began the second half. After all its trials and tribulations, the opera orchestra is currently at the top of its game.

For them, and for Perth Festival, this opening gala ticked a lot of boxes, and admirably included some more unusual music alongside the famous hits, even if that meant some tricky leaps in style, pace and tone, for the listener as much as the performers. Those structural flaws perhaps make it more difficult to berate the citizenry of Perth for failing to fill more of the seats.

Keith Bruce

Sponsored by Brewin Dolphin

Picture: Catriona Morison by Fraser Band

Scottish Opera: Dvorak, Stravinsky

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40 Edington Street, Glasgow

Music director of Scottish Opera Stuart Stratford brought the affable and informative presentation style familiar from the company’s orchestral concerts at the Theatre Royal to what he called “the most exciting car park in Glasgow” on Tuesday lunchtime.

The winds and brass of the Orchestra of Scottish Opera moved to the front of the temporary stage built for the company’s production of Falstaff for the second of the musicians’ showcase concerts as part of the company’s Live at No.40 season. The third is on July 16, after a run of performances of Verdi’s Falstaff and a Citizens Theatre production of The Comedy of Errors.

Whatever stylistic playfulness directors Sir David McVicar and Dominic Hill bring to those, the composers featured in this recital had their own to display. Although from different eras and with different instrumentation, they all used form and styles to inventively explore and entertain.

The most familiar work, Dvorak’s Serenade for Winds, was led by the beautifully-rounded tone of Amy Turner’s oboe. What was especially notable, however, was the crucial role in the orchestration played by the two string players, Peter Fry’s double bass and especially Martin Storey’s cello. It was not until the second movement Minuetto that the horns settled into the groove, but the overall ensemble sound by the counterpoint of the Finale was very rich indeed.

As is the combination of instruments in Stravinsky’s 1923 Octet, with the composer’s use of muted brass and exploitation on the clarinet’s lower chalumeau register crucial to the colours. As conductor Stratford introduced it, there are indeed “classical” references in the modernist composer’s writing, but there are also suggestions of minimalism to come in the repetitions of some phrases, in what is a tricky and fascinating piece.

Enrique Crespo’s Suite Americana No.1 also has considerable difficulties for the players of the brass quintet, and its exploration of five dance forms would also be a challenge to actually dance to.  The shifting rhythms of the bossa nova, oompah waltz, and soundtracky samba are all great fun though. This evocation of South America almost brought the sun out.

Keith Bruce

IDYLLS AND IDEALS

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Scottish Opera is showcasing its orchestra in a series of lunchtime concerts alongside its new production of Verdi’s Falstaff. Music director Stuart Stratford speaks to Keith Bruce.

Destined for indoor performances at the Festival Theatre as part of this year’s Edinburgh Festival, Sir David McVicar’s new production of Falstaff is also giving Scottish Opera the focus for its own summer festival at its rehearsal space in Glasgow’s Edington Street. The Citizens Theatre, Scottish Ensemble and Scottish Opera Young Company are also part of a programme that runs to August 1 and sees the revival of concerts by the Orchestra of Scottish Opera, the first two of which are between the first two performances of the opera on July 5 and 6, with the third to follow on July 16.

Effectively these have become sectional showcases, offering all the players in the orchestra a chance to hone and display their skills. Falstaff will feature the biggest orchestra the company has been able to field since the start of the pandemic, while the concerts are three programmes of large-scale chamber music.

Music director Stuart Stratford explains: “It is all happening on the stage with the Falstaff set still there.

“We had to keep the numbers of the orchestra down, so the maximum number of players we can have is 15 with social distancing. That was one of the factors in deciding the programme, and we wanted to use as many players in the orchestra as possible over the three concerts. I think we utilised every player in one concert or another except for harp, timpani and percussion.

“It is all about getting us playing again and showing the depth of talent across the orchestra, not just the principal players. So the strings are split into two groups, one led by our assistant leader Katie Hull in the first concert, playing Elgar’s Serenade for Strings and the Three Idylls by Frank Bridge and then leader Tony Moffat leads the other half of the strings in the concert that he is curating with Bach’s Brandenburg 2, Vivaldi, Purcell and Puccini. It is all about a celebration of the orchestra and the repertoire stemmed from that – pieces that showed off our assets.”

The third concert is a showcase for the winds and brass of the orchestra, with music by Dvorak, Stravinsky, and Enrique Crespo.

The horn section of The Orchestra of Scottish Opera. Credit Beth Chalmers.

“I asked for suggestions from everyone. Many of the players suggested the Petite Symphonie by Gounod. Several people suggested the Dvorak Serenade for Winds. I was really keen to do the Stravinsky Octet as it is one of the few chamber pieces that has a bass trombone in it.

“I was delighted that Katie chose to include the Frank Bridge Three Idylls, which is beautiful and not that well known, and makes a nice pairing with the Elgar String Serenade. The Crespo I didn’t know at all. It is a brass quintet that really fitted the brief and it’s a real firework piece to end the brass and wind concert.”

The profile that the orchestra has enjoyed within the company over the recent difficult times looks from the outside to have been in marked contrast to the relationship Scottish Opera had with its musicians in recent years, when the company ceased to have a full-time chorus and put the players on part-time concerts.

That is an impression confirmed from the inside.

A long-term member of the orchestra told VoxCarnyx: “This last year and a half we’ve felt really connected and part of the company for the first time in about a decade. They’ve worked very hard to include us in their future plans. We know we are an integral part of the opera company but it hasn’t always felt like that. We have felt fully supported by Scottish Opera throughout this whole this period. Our artistic value may not have been fully appreciate in the past, but we have done lots of meaningful work during the pandemic.

“These concerts have been thought about very carefully, how to make it work for the size and the space and the players that they have. It’s such a good way to keep everyone’s playing in good form.”

Stratford is clearly proud of the work that the company has done in difficult times, from the film of Menotti’s The Telephone for last year’s Edinburgh Festival through online staged versions of Mozart, Janacek, Humperdinck, and most recently Donizetti’s L’Elisir d’amore.

“We have tried to keep people going. It is so important not just for their fingers and lips but for people’s mental health as well. We have been able to keep people busy in a meaningful way.”

The Orchestra of Scottish Opera performs as part of the Live at No.40 season on July 5, 6, and 16 at 1pm. Full details and booking information at scottishopera.org.uk

Main Image: Principal oboe Amy Turner with The Orchestra of Scottish Opera. Credit Beth Chalmers.

Online Cosi from Scottish Opera

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Scottish Opera continues to set the pace with filmed productions online, announcing a new Cosi fan tutte, built around its current posse of Emerging Artists, available to view online from December 13.

Filmed on the stage of the Theatre Royal in Glasgow with music director Stuart Stratford conducting the Orchestra of Scottish Opera and chorus, Roxana Haines’ new production references reality TV. Soprano Catriona Hewitson, mezzo Margo Arsane, tenor Shengzhi Ren and baritone Arthur Bruce are joined by 2019/20 Emerging Artist Charlie Drummond and Royal Opera House Jette Parker Young Artist Michael Mofidian.

In the first month of the new year, the company follows that with a concert performance of Humperdinck’s Hansel and Gretel, also filmed at the Theatre Royal, directed by Daisy Evans, who was responsible for this year’s Edinburgh International Festival production of Menotti’s The Telephone.

Using David Pountney’s translation and a reduced orchestration by Derek Clark, David Parry conducts and the cast includes Kitty Whately as Hansel, Rhian Lois as Gretel, Nadine Benjamin as Gertrude and The Witch, Phillip Rhodes as Peter and Charlie Drummond as Sandman and Dew Fairy.

2021 is the 50th anniversary of Scottish Opera’s education and outreach department, in its various guises, and that will be marked by what the company intends as live performances by Scottish Opera Young Company next summer. Already meeting for rehearsals via Zoom, they are preparing for the world premiere of Rubble, composed by Gareth Williams with a libretto by Johnny McKnight. Soprano Shuna Scott Sendall will join the young singers for the show, which will be conducted by Chris Gray and directed by Roxana Haines.

Image: Shengzhi Ren, Arthur Bruce and Margo Arsane in Opera Highlights. Scottish Opera 2020. Credit Colin Hattersley.