As they say, murder your mother for a ticket....

Right, so, Elektra by Richard Strauss, an opera I have never really got. Sung in a semi staged concert with the Sydney Symphony, and with the Sydney Dance Co providing additional stuff. Yeah, totally not what I would want to see. Except, it had The Goerkinator singing. My opera friends in the UK had all been raving about her performances last year at Covent Garden in this same role, and it seems safe to assume, that this is probably the only chance I would get to hear her live in person.

So, with quite some trepidation, we went, only paying for choir stalls seats, which means we rarely saw the singers faces as they sang facing away from us. Yet, I was still fairly certain I would hear every note from Elektra.

So, basically, I can now say I have heard Elektra live. Sung by the only person I can think of, who actually can sing all the notes, and be heard over that huge orchestra, without resorting to shouting, shrieking, or any other ugliness you care to think of. In short, Christine Goerke is a force of nature with a voice that does not demand to be heard, it gives you no choice, YOU WILL HEAR THIS VOICE! That she can do that over an enlarged Sydney Symphony, unamplified, with her back to us, probably says it all.

To be fair, it is hard to describe performances of an opera that you do not like, without sounding like a prick. I still do not like Elektra, but after this performance, I do get a sense of why people might. But, for me, it is still an opera I can't get past the unlikeable characters, to be moved by their plight. We are not talking music that makes you want to like it, but rather music that reflects the inner turmoil of the characters. It is impressive, but ultimately, if I do not hear it again, I won't be upset.

So, to the singers, really all I need to say is Christine Goerke rocks. She makes this madness musical, she lives those notes, sings them through that orchestra, and does it with ease. Her command of this part, suggests that it was written with her voice in mind. It wasn't, but it might as well have been.

As her mother Klytemnestra, we have a former Elektra in the form of Lisa Gasteen. Like Ms Goerke, she too has power to burn and claimed this part as hers. She made the scary mother, if not likeable, at least believable, with her fears, and her determination to kill and kill again, until she finds peace from the dreams that are slowly driving her mad. The dreams that stem from her killing her husband. Her voice is not as large as Ms Goerke's, and when you think she was one of the go to Brünnhildes of the recent past, you might begin to understand my comments on vocal size. But, she also sang her role in a way that left you understanding these roles can be sung, and not shouted. How rare to hear this, and how wonderful!

As Chrysothemis, Cheryl Barker was also impressive. I was much more impressed with this than some of her other Strauss roles, making me wonder if it is more the length of some of these roles that makes her hold back. In this smaller role, she was vocally fearless, in a way that she was not in say Capriccio a couple of years ago. She threw herself in vocally, and sang out with far more power than we often see from her, making me wish she did it more often.

As Orestes, I was less impressed with Peter Coleman-Wright. To be sure, I rarely like his voice, and this night was no exception. His voice sounded tired, leaving me wish for pretty much any other large baritone in the role. He really was the one weak link I noticed in an evening of very high musical standards.

I also have to say, that all the servants and other minor roles were sung superbly. The fact that most of them are not singing for Opera Australia is quite surprising. I have heard leads in large roles who were less impressive than some of the maids. Or the male servants for that matter (though, only one of them has not sung for them, and Pascal Herrington has just finished his stint at the Conservatorium!)

I also must mention the dancers of the Sydney Dance Company who were a frequent recurrence throughout the evening. While they were decorative, I have to wonder were they really adding to the presentation? Or were they distracting? I tend to feel the later, but, admittedly, I was watching from the back, so they were between the singers and me. They felt too much like an added touch, as if someone suggested it, but no one really thought through the why, just "this seems a good idea" I just found them distracting, not enhancing the action.

On the other hand, definitely enhancing the action was the conductor David Robertson. He has the Symphony sounding amazing, and responding to his every command. I think this may also be the first vocal concert where I heard no brass fluffed notes at all, which certain of my readers will be thrilled to hear!

So, to sum up. This was a concert to go to, to hear some extraordinary voices, sing music that I do not like. That I walked away amazed and thrilled probably says it all.

Christine singing Fidelio.

Come fly with the Dutchman

Well, that was a ride and a half! Up close and personal with with the Sydney Symphony and some fabulous soloists for a Wagnerian opera. Like, really close. Third row close. My ears will take some time to recover from the eargasm.

To be sure, it may not have been the best place to hear some of the voices, as singer's voices do tend to be quite directionally focused, and they were definitely singing over our heads. Thus some passages may have struggled to carry to our seats, but it was only small patches, with most reaching us fine, even if not with the full power those voices displayed.

And what voices! Anytime you have Eric Owens on stage is a good time. Adding the fearless and magnificent Orla Boylan and Ain Anger as well, and you have the foundations for an astonishing performance.

So, from the outset, despite this being a concert in the symphony season, it was a very theatrical event. Before the concert started, the lights were dimmed till only the stage was lit. The backdrop lit up with images of the sea as the opening chords of the prelude kicked in. From there on, the magic of Wagner began to cast his spell, weaving his impossible gothic tale of horror and redemption.

It has to be said, from the word go, the orchestra and its conductor David Robertson were on fire, wringing out every inch of drama and excitement of an admittedly already exciting score. As mentioned before, this was a very theatrical concert, so as the usual choir stalls were behind the screens, the choir was set up with the men on one side of the stage and the women the other. The offstage horns for the calls to the Dutchman's ship were towards the back of the auditorium.

From the opening notes of Anger's Daland, there was no doubt we were in for a treat. His huge beautiful bass, used to good effect last week in the Verdi Requiem took on a new level, as he clearly revelled in the role, bringing nuance born of a clear understanding of the text. This was text driven singing, rather than just singing the notes, coupled with a beautiful expressive voice.

Beside him, the Steuermann of John Tessier seemed at first a little overwhelmed, but quickly grew in strength. His higher notes soared across beautifully, expressing the longing to be back home with his unnamed (possibly nonexistent) beloved. The timbre of his voice was just right for the role, making that youthful cry all the more right.

Then of course, the Dutchman of Eric Owens arrives, the reason for this performance in many ways. Sounding at once world weary, yet still also longing for release, he brought the mythic sailor to life, in both glorious sound and menace. His performance is every bit as good as as you would expect, but like many bass voices, his comes across much richer in person than in recordings. It's an unusual sound, as you would know if you have heard it, instantly distinctive, and glorious in villainous or troubled roles. The Dutchman is very much his role, just like his Alberich for The Met, a tour de force of singing a role, seemingly written for him.

I was also expecting good things of Orla Boylan as Senta. I was not disappointed. This is not Senta as ice maiden, this is Senta as glorious flesh and blood woman, a conflicted whirlwind of emotions, powered by a glorious sliver toned voice that cut through the orchestra with ease. She made the Ballad that is her big opening number both dramatically and musically cohesive, allowing the lyrical beauty to come through, as well as the intrinsic creepiness of the piece. She could make a fine career, just singing Senta around the world if she wanted, I expect.

To me, the Erik of John Dazsak was much stronger than his tenor soloist in last week's requiem. Whether the repertoire suits him better, or if having a character to portray is what made the difference, I'm unsure, but the difference was noticeable. He was convincing as the suitor rejected by Senta, abandoned for the hero who has haunted her dreams for years.

And, while it is only a small role, I also have to say the Mary of Sally-Anne Russell was a treat. She vividly brought life to the role, and was a clear demonstration that despite the starry talent on stage, Australia too has plenty of great singers, which Sydney Symphony needs to remember when casting. I know we have some great voices around, who we should be hearing and aren't.

And, as well as the great soloists we also had excellent singing (with much better diction this time) from the Sydney Philharmonia Choirs. They clearly relished being in character, and brought life to what could have been just stand and sing moments.

So, all in all another fabulous night of singing. I'm tempted to look for a ticket for Monday night to go again, though I suspect it is now all sold out...

 

I'll leave you with Ain Anger singing, for those who have not heard before...

Viva Verdi (RIP)

So, that Verdi Requiem, hey? Having been sung at loudly and gorgeously by four soloists and a massed chorus, as well as orchestra, for over an hour, everything does tend to become a bit numb. Gorgeousness blends into gorgeousness, counterbalanced with the fierceness of the fiery sections, as Verdi demands his full forces let rip in an orchestral orgy of horror at the day of judgement. And yet, so much beauty interspersed.

With the combined forces of the Sydney Symphony and the Sydney Philharmonia Choirs and the Tasmanian Symphony Orchestra Chorus, led by David Robertson, it was always going to be a big sound. Adding in three superb singers and you are pretty much bludgeoned into a delicious pulp. This is a good thing.

So, yes, I now can add Erin Wall to my list of Extraordinary Must See Singers. Beautiful, pure, lyric soprano, the sort that makes you go "how is she still singing that, that loudly and sounding pretty, not harsh?" Yes, she is one of those singers. Was it wrong I kept thinking through her singing of things I would love to hear her sing? Pamina and Countess both sit high in my list of things she would be amazing in. That heart breakingly beautiful sound would just leave you haunted in such roles.

So, needless to say she sang well. High notes wafted "up there somewhere" and the ability to go from the quietest pianissimo to her loud fortes without that sense of switching gears that you get with some singers. And such a beautiful sound from top to bottom.

Her mezzo companion was Olesya Petrova, bringing a big creamy sound, well matched to her soprano compatriot. The only time I found myself at all disappointed with her was in the Angus Dei section, when she and Erin sang in octaves. Next to Erin's higher notes, Olesya sounded slightly harsh. Not that she was, just that Erin was singing even more beautifully. It was weird, because the rest of the time, they sounded gorgeous together.  Something about those octaves though, left me thinking why is this not as gorgeous as it should be. Truly odd.

The other superb member of the quartet was Ain Anger, with a fierce bass sound. This is a man clearly used to singing bass villains, and doing it well. Sometimes, I heard a villainous snarl during some of his solo lines and thought, wrong piece for that flourish big guy, but otherwise he was fabulous. A big resonant bass voice who could boom fiercely through the Confutatis section. That it took over from the Ingemisco of John Daszak did seem a little unfair. For both.

To be honest, I was expecting better things from John Daszak. Now, maybe he was having an off night, or the Latin text is something he finds challenging, but I was definitely underwhelmed. Throughout, his voice sounded dryer, less resonant, and basically, tired. Maybe he was. He had sung the night before too (as had the others). But, having said that, all the notes were there, and when he was singing with the others, he blended in beautifully, the sections with him and the bass and the mezzo were just beautiful. I am just very glad the Ingemisco was not at the start, as he had improved by the time he got to that, but it was still not that gorgeous sound we were hoping for.

As for the choruses (for we had two in this), well, lots of sound, and no obvious wrong notes or bad entries. The only criticism I had, was that I would have liked more clarity of diction, but with that many singers, and a big choral concert from them next weekend as well, I can well understand why. That precision requires lots of drilling, and with two big concerts back to back, it does become a challenge to get both up to that standard.

Which of course, leaves David Robertson. For the most part, I liked what he did with his forces. There were a couple of interesting touches to how he shaped sections, noticeably at the end of the Dies Irae sections, where he worked to get an almost bouncy, juddering effect, which worked. My only criticism, would be I would like a touch more savagery and more of a turning on a dime feel to my Verdi. This was sometimes too pretty, when Verdi really comes to life with savagery. But, considering the forces, I suspect he went more for unity, rather than fierce precision.

So, on the whole, a truly fabulous concert. Not perfect but, very very good!

Erin singing a different Verdi, in case you do not know her voice.

And, now that the boffins have done their thing, the entire concert is available for viewing online...

Click here (needs silverlight)