Il tabarro, Melos Sinfonia/Zeffman, 1 May 2016

LSO St Luke’s

Michele – Simon Thorpe

Giorgetta – Sarah-Jane Lewis
Luigi – Charne Rochford
La Frugola – Fiona Mackay
Tinca – Robin Jeffcoat
Talpa – Arshak Kuzikyan
Song-seller – Luis Gomes

Ella Marchment (director)

Chorus (chorus master: William Cole)

Melos Sinfonia

Oliver Zeffman (conductor)

 

This was a May Day performance of Puccini’s opera to match what one might hear in the most exalted of houses, with all the advantages of observing the action at close hand. In this concert staging. there were no sets, but there was keen, telling direction (Ella Marchment). Imaginative use was made of the space too, the chorus and certain other solos being heard from above and around, reinforcing the sense of being trapped, fatally so, upon a river barge.

 

The Melos Sinfonia under Oliver Zeffman offered a duly hypnotic, post-Debussyan opening, the Seine immediately announced as a major, arguably the major, character. Zeffman’s care for orchestral balance was a richly rewarded as his dramatic pacing throughout; try as I might – and of course, I was not really trying – I could not find anything to fault. Dramatic tension and the needs of the moment were as well balanced as the orchestral lines (both with each other and with the voices). Just when one began to think that Puccini might be veering a little too close to Debussy for comfort, orchestral swells proclaimed his identity all the louder. The twists and turns in the score, for instance when Luigi offers his men a drink, were navigated with a sharp ear for rhythm and colour – and splendidly executed by the orchestra. Rhythm, perhaps in this of all Puccini’s score, proved properly generative, progenitor of as well as aqueous participant in the drama.

 

There was no doubt, moreover, of the existential tragedy when Luigi took to the stage to respond to Tinca; one could have cut the atmosphere with a knife; Paris, another existence, certainly called to the lovers in their duet. A duly symphonic conception that yet did not forget this was an opera underlined, indeed in every sense underscored, the inexorable human tragedy. The icy chill of the strings’ knife-twisting thus took its place not as a mere ‘effect’ but as a necessary outcome of what had gone before. Stravinskian ostinato – surely at least as much to the point as the organ-grinder’s colourful reminiscence of Petrushka – looked forward to Œdipus Rex.

 

I had no more reservations concerning the singing than I did the rest of the performance. Simon Thorpe’s darkly tortured – and torturing – Michele was at least as powerful a portrayal of the role as I have heard. The same could be said of the rich-toned Giorgetta of Sarah-Jane Lewis, whose plight and character could not have done more to engage our sympathy. Charne Rochford’s powerful yet subtly attentive Italianate reading of Luigi’s part was to be heard at just as impressive a level. Fiona Mackay and Arshak Kuzikyan developed their characters, La Frugola and Tinca, with excellent eyes and ears for detail: there was nothing incidental about their roles. Nor was there in the case of Robin Jeffcoat’s lugubrious yet, in more than one sense, ‘realistic’ Tinca or the finely-observed Song-seller of Luis Gomes. The small chorus, well trained by William Cole, was on equally excellent form, whether corporately or in the case of other solos. At no point did it occur to me to miss this panoply of full staging.

Turandot, Royal Opera, 20 February 2014

Images: Tristram Kenton/ROH

Emperor (Alasdair Elliott),
Turandot (Iréne Theorin)

Royal Opera House

Mandarin – Ashley Riches

Liù – Ailyn Pérez
Timur – Matthew Rose
Calaf – Alfred Kim
Ping – Grant Doyle
Pang – David Butt Philip
Pong – Luis Gomes
Turandot – Iréne Theorin
Emperor Altoum – Alasdair Elliott
Soprano soli – Marianne Cotterill, Anne Osborne

Andrei Serban (director)
Andrew Sinclair (revival director)
Sally Jacobs (designs)
F. Mitchell Dana (lighting)
Kate Flatt (choreography)
Tatiana Novaes Coelho (choreologist)

Royal Opera Chorus and Extra Chorus (chorus master: Renato Balsadonna)

Orchestra of the Royal Opera House
Nicola Luisotti (conductor)

 

This was in almost every respect an excellent performance – which therefore exacerbates the problem lying at the heart, or whatever it is that lies in its place, of the work itself. The prize may be fiercely contested, and I should hesitate to award first place to any one contender, but is there a more brazenly offensive opera to modern sensibilities than Turandot? Its racism and misogyny are far from unique, though they are experienced here in a form so extreme that even the dullest of listeners could hardly fail to notice them. The particular offensiveness goes far beyond that, however. Michael Tanner, writing in The Spectator upon this production’s previous outing of the season, went so far as to describe it as ‘an irredeemable work, a terrible end to a career that had included three indisputable masterpieces and three less evident ones, counting Il Trittico as one.’ The real problem is the plot itself. Again to quote Tanner,  only summarizing what happens yet in reality twisting the knife by having the plot speak for itself, ‘once Liù has killed herself because she can’t stand any more pain, Calaf forgets about her, and about his frail old father Timur who just disappears, and turns all his attention on Turandot.’ It is repellent, and it is well-nigh impossible to imagine someone possessed of a smidgeon of humanity feeling otherwise.

 

And yet, its repellent quality fascinates, on account of Puccini’s manipulative genius. There is nothing beneath the surface, but what a surface! What Tanner rightly condemns as a ‘void’ draws one in to its nothingness and achieves if not nihilistic intent then certainly representation and experience of the work’s nihilistic essence. It is not entirely different from much Strauss in that respect, though the sadism is Puccini’s own: how he revels once again in the torture as much as the vile sacrifice itself! A ‘successful’ performance is therefore a problematical concept indeed. Should the work simply be portrayed for what it is? Or should it be confronted, questioned, in some sense ‘dealt with’?

 

Pang (David Butt Philip), Ping (Grant Doyle), and Pong (Luis Gomes)

 

The Royal Opera opted for the former, at least in terms of the umpteenth revival of Andrei Serban’s production, first seen in 1984. Andrew Sinclair’s revival direction seemed tighter than it had in September of last year, though I think that may have been in large part a matter of greater musical – in particular, orchestral – dynamism, sharpening the cruel edges of the work. Yes, there is something of an effort – which again, came across more strongly than last time around – to present the performance with the idea of ‘staging’ to the forefront. It comes perilously close to being lost, however, by the exuberant success of  the execution, not least Kate Flatt’s choreography. ‘About staging’ turns into ‘mere staging’. Likewise the Orientalism of Sally Jacobs’s designs. Surely by 2014, we need to inject a measure of irony, or indeed violence. I had a nasty feeling that many of those in the audience wildly applauding had not so much as registered the attendant problems: an urgent need for any responsible new production.

 

The orchestra was on magnificent form throughout. Nicola Luisotti not only revelled in the score’s phantasmagorical harmonies and sonorities but also imparted a startling symphonic continuity not only to each act but to the work as a whole. Puccini’s surface and that void beneath could hardly have been more brilliantly – in more than one sense – evoked. This Puccini, quite rightly, sounded more than ever a brother of Strauss, not least in his twin descent from Wagner’s invention and disavowal of Wagner’s moral intent. Such made the echoes and/or presentiments of Schoenberg – not only the avant-gardism of Pierrot lunaire, but also the wondrous late Romanticism of Gurrelieder – sound all the more painful, given the strenuous moralism of the Austrian composer, as fervent an admirer of Puccini as Puccini was of him. Luisotti had done for the most part a decent job with Don Giovanni, but he was clearly more in his element here. If only the staging had questioned the work as the fine musical performance necessarily did.

 

Liù (Ailyn Peréz)

Iréne Theorin did what she had to do in the truly repugnant title role. Steel and sheer vocal strength were allied to a subtler-than-usual command of dynamic contrast. Alfred Kim might have offered more in terms of subtlety, especially during that aria, which sounded too much like an aria, however much responsibility Puccini must also bear for that. But otherwise, his was a formidable, untiring performance. Liù once again fared very well in indeed in terms of casting, Ailyn Pérez offering a moving portrayal – again, may Puccini’s manipulations be cursed! – in which musical and dramatic imperatives were as one. There are greater opportunities for vocal shading, and of course for sympathy, than with the Princess; Perez undoubtedly took them all. Matthew Rose made for a noble Timur, whilst the unbearably irritating trio of Ping, Pong, and Pang received uncommonly excellent performances, again as laudable in stage as in musical terms, from Grant Doyle, David Butt Philip, and Luis Gomes. Renato Balsadonna’s chorus and extra chorus showed themselves the orchestra’s equals in excellence.

 

Wagner feared that excellent performances of Tristan would be his ruin; audiences would not be able to take them. In a very different sense, one might say the same of this ‘irredeemable’ work; at least unless a director has the courage more directly to confront its horrors.