Culture

‘It’s generally agreed that in contemporary practice, this opera proposes significant ethical and cultural problems,’ says the director Lindy Hume in the programme book for her new production of Madam Butterfly, and if you’ve just shelled out 75 quid in the expectation of attractive scenery and luscious tunes, that’s you told. In truth, it’s rarely advisable to read what a director thinks about their own work, at least until after the show, when it can serve as a bemusing footnote to the evening’s entertainment. Ah, so that’s why they were wearing pink beehive wigs! If a director is any good at their job, it’ll come across on stage without any need for commentary.

Malcolm Arnold composed his opera The Dancing Master in 1952 for BBC television. It never appeared, the problem being the source material — William Wycherley’s 1671 farce The Gentleman Dancing Master. Jokes about wedding nights and ‘scarlet foppery’ might have flown in the reign of Charles II but the New Elizabethans at Broadcasting House were altogether more shockable. ‘Too bawdy for family audiences,’ was Auntie’s official verdict, leaving The Dancing Master largely forgotten until a premiere recording late last year, and now — conducted by John Andrews and using almost the same cast — its first ever professional production, at the Buxton International Festival.

Comedy’s a funny thing. No, seriously, the business of making people laugh is as fragile, as mercurial as cryptocurrency — a constellation of shifting risk factors, many beyond control, any of which can kill a joke deader than Dogecoin. Opera is already at a disadvantage. Timing — comedy’s accelerant of choice — is predetermined, dictated by the demands of unwieldy choruses and slow-moving sets, pinned down to the second by a score whose creator may be anything but a natural comedian. Just ask Verdi, whose early farce Un Giorno di Regno was such a comprehensive flop that he gave up the genre altogether for almost an entire career. But at 75, all but retired after a sequence of bloody tragedies, the composer returned for one last shot at comic victory.

When you think of Handel’s Amadigi (in so far as anyone thinks about the composer’s rarely staged, also-ran London score at all) it’s as a magic-opera. Sorcerers and sorceresses do battle in a fantasy land not found on any map. The stage directions alone are enough to stir the commercial loins of any 18th-century impresario. Enchanted palaces are ‘split asunder’, caves transformed into ‘beautiful palaces’, monsters ‘ascend from the bowels of the Earth’ and a chariot ‘descends covered in clouds’.

At the turning point of Richard Strauss and Hugo von Hofmannsthal’s Der Rosenkavalier, all the clocks stop. Octavian has arrived at the house of the teenage bride-to-be Sophie von Faninal as bearer of the silver rose — the symbol of a love that is simultaneously as artificial and as eternal as any human creation can be. Sophie smells real roses; yes, says Octavian, there is a drop of Persian fragrance amid the silver petals. ‘Like a heavenly, not an earthly rose’, sings Sophie: and her voice soars higher and purer than anything we’ve heard so far, suspended in stillness while Strauss’s orchestra shimmers around her. The thing is, in Bruno Ravella’s new staging for Garsington Opera we already know the rose’s secret.

At the first night of Glyndebourne Festival 2021 there was relief and joyful expectation as Gus Christie made his speech of welcome. Never mind the hit to takings from the closed bar and the necessarily half-empty auditorium; never mind the scaled-back orchestra and abridged score. The new production of Katya Kabanova provided the thirsty opera-goer with a long cool drink of world-class music and heavily symbolic staging. Janacek’s exploration of a yearning female psyche has parallels with Anna Karenina and Madame Bovary. It lives or dies by its lead, and the Czech soprano Katerina Knezikova excelled as Katya.

It’s my new lockdown ritual. Switch on the telly, cue up the menu and scroll down to where the vintage movies gather — Film 4, or the excellent Talking Pictures TV. Then search through their early-hours offerings, and press ‘record’ more or less at random. Gainsborough costume flicks; Rattigan adaptations; anything with John Mills in a submarine — it’s all good. Then, next day, trawl through the catch to see what’s surfaced, and who wrote the music. On a good night you might get Vaughan Williams in 49th Parallel, Richard Rodney Bennett in Billy Liar or — bewilderingly — the fire-breathing serialist Elisabeth Lutyens, keeping herself in cigarettes and brandy with scores for The Skull or Dr Terror’s House of Horror.

I’m still waiting for the Royal Opera to step up. Nearly a year into the Covid crisis and what do they have to show for it? One stonking concert staging of Ariodante, a couple of gala-ish performances and some operatic scraps. Where’s the creativity? Where’s digital ingenuity, the willingness to experiment, reinvent, adapt? Where, frankly, is opera? When companies with a far greater reliance on box office than the heavily subsidised Royal Opera can do their bit — look at Grange Park’s tireless stream of content, ENO and Scottish Opera’s various car-park Bohèmes, English Touring Opera’s monodramas and song cycles, Glyndebourne’s Offenbach-in-the-garden — it’s hard not to feel frustrated.

In classical music circles, Christmas arrives with the overture to Handel’s Messiah. Or so they’ll tell you. In truth, festivities kick off when you hear a ping from your phone and glance down at your inbox: OMG — you have to hear this! There follows, as tonic follows dominant, a link to YouTube and the 2014 Christmas in Vienna Medley — the occasion, still barely fathomable to anyone who believes that we share a common European culture, when a quartet of opera singers in full evening dress, and shimmying on the spot like a vicar at a Sunday School disco, attempted to cover George Michael’s ‘Last Christmas’. But not this year. Oh no.

Covid has been many things to the arts — most of them unprintable. A plague, a scourge, a disaster from which many institutions and artists won’t recover, it has also been a great equaliser. Suddenly there’s space to be heard, silence to be filled. In a digital world no one cares about the size of your stage. All you need is a laptop and a good idea and you’re competing alongside the Met or the Royal Opera. In the case of the Virtual Opera Project it was a shed and a homemade green-screen. Oh, and a cast, chorus and creative team of well over 100. And did I mention the London Philharmonic Orchestra?

It’s quite a title sequence. Puccini swells on the soundtrack and words flash before your eyes. ‘Ecstatic!’ ‘Spellbound!’ ‘Passionate!’ ‘Dazzled!’ Champagne fizzes, ballerinas pirouette; for some reason Bryn Terfel hovers in the roof of the Floral Hall. The Royal Opera House is back in the game, bringing the uplift of live music-drama to an opera-starved Britain, and if you’re watching it online, the only remaining question is whether the offering on stage can possibly live up to the energy, colour and sheer affirmation of the Royal Opera’s on-screen intro. Don’t be silly. What we get is New Dark Age — a double bill that takes its name from its second half, the latest creation of director Katie Mitchell.

The email from English National Opera was blunt: ‘Your arrival time is 18.25. If you arrive outside your allocated time slot, you may not be allowed entry.’ Perhaps, to habitual London drivers — if such people exist — negotiating the residential streets of Muswell Hill during a Saturday rush hour is all good clean urban fun. I couldn’t say. I just know that by the time I’d been marshalled into a parking space at Alexandra Palace, my no-claims bonus miraculously still intact, I was in no mood for an evening of updated and interval-free Puccini. Three hours later I was pounding my car horn like a Neapolitan cabbie.

In the 62 years since I first heard and saw Don Carlo, in the famous and long-lasting production by Visconti at the Royal Opera, my feelings about it have grown ever stronger, both in passionate attachment and in critique. Imperfect operas, like other imperfect phenomena, can be more interesting than perfect ones, because they’re more thought-provoking, more enticing. The libretto, very freely based on Schiller’s play, was by two Frenchmen, and Verdi, eager to make a bigger splash than he had so far in Paris, made too much of one. The first performance, in 1867, ran so late that the members who lived outside central Paris missed their last trains, which were at 12.35 a.m. (Royal Opera and ENO: please take note).

‘I don’t want to do my work. I want to go for a walk. I want to eat all the cakes… to shout at everybody!’ Which of us hasn’t felt like this at some point during the past ten weeks? The small child at the centre of Ravel’s L’enfant et les sortilèges speaks for us all as he rages against the restrictions of his suddenly enclosed and joyless world. Shut in the schoolroom until he finishes his homework, the little boy lashes out, spilling ink on the carpet, smashing the crockery, snapping the pendulum off the clock, tearing the wallpaper and terrorising the cat. But just as his tantrum is exhausted he finds that the tables have turned as the furniture, objects and animals that surround him come to life and scold him for his behaviour.

A few years ago I interviewed an eminent baroque conductor. Prickly and professorial, tired after a day of rehearsals, he batted question after question away until we landed on the subject of French baroque opera. No longer disinterested, now he was furious. He’d recently had a conversation with a major UK opera house, who had decided never again to stage anything by Lully, Rameau or Charpentier. Why? ‘It doesn’t sell.’ Since then we’ve had precisely one professional production of this repertoire in this country. It’s not the first time that English audiences have been suspicious of foreign imports. Back in the 18th century, when the cultural invasion came from Italy, feelings on this subject ran high.

Desperate times call for desperate measures. With the world’s opera houses currently dark, the New York Metropolitan Opera tackled the crisis the way it knows best — by assembling the most glamorous possible list of vocal megastars and presenting them at astronomical expense. But dollars can’t get around social distancing, and in lockdown even the greatest voice is only as good as the mic on a smartphone. Cue four hours of free-to-view party pieces from 43 of the world’s greatest singers, broadcast live from their homes without orchestra, without editing and without excuses.

Anyone familiar with Joe Hill-Gibbins’s work will brace instinctively when the curtain goes up on his new Figaro. He’s the young British director who smeared the Young Vic with jelly and custard (The Changeling) and transformed it into a giant mud pit (A Midsummer Night’s Dream), covered the Almeida in blood and more mud (The Tragedy of King Richard the Second) and bathed his cast in a stomach-turning blend of salad cream, ketchup and baked beans at the Edinburgh Festival (Greek).So when the curtain rises on a white-walled corridor whose sterile purity is broken up only by four equally white doors you do mentally reach for a mop. But Hill-Gibbins’s plans for Figaro are surprisingly clean and surprisingly, well, dry.

Who was the most influential figure in 20th-century classical music? Stravinsky? Pierre Boulez? What about Bernstein or Britten? John Cage or Karlheinz Stockhausen? Powerful public figures all. But there’s a case to be made for a very different kind of character — less king than kingmaker, a musical éminence grise.With a Who’s Who of pupils that included Leonard Bernstein and Aaron Copland, Elliott Carter and Astor Piazzolla, Philip Glass, John Eliot Gardiner and Daniel Barenboim, Nadia Boulanger is the most powerful musician you’ve never heard of, ‘the most important teacher since Socrates’, as one composer only partly joked. Photographs show us a stern, spectacled, almost invariably elderly figure.

Verdi’s Luisa Miller is set in the Tyrol in the early 17th century, and for some opera directors that’s a problem. After all, they’re busy people. They probably never had time to read Wolf Hall, or to speak to any of the 100 million people worldwide who watched Game of Thrones. It’s self-evident to them that modern audiences will be unable to empathise with anything involving swords, castles or feudal hierarchies. Which is why they work hard to imagine new contexts that can make these hopelessly dated dramas address contemporary life as we live it, right here, right now. Counts, village maidens and men in ruffs? Baffling. But a clown strapped to a gyrating crucifix being stabbed with arrows by a group of dancers in flesh-coloured swimming caps and black fetish wear?

Calixto Bieito’s Carmen: three words to make an opera critic’s heart leap. Until quite recently, Bieito was the operatic provocateur of the century — the director who opened Verdi’s Un ballo in maschera with a row of men defecating on stage, and who presented Mozart with a side order of torture porn. Veterans of his Carmen told of fellatio and gratuitous nudity; it all sounded very promising. Add the malicious pleasure of seeing what unrevivable horrorshow ENO had lumbered itself with now — what steaming paella of body fluids it was about to dish up to an audience who’d paid for an evening of good tunes and sultry senoritas — and the review practically writes itself.