Note:
A belated report on performances over the weekend of 8th-10th
July 2018.
A visit to the
Aldeburgh Festival has become a regular fixture in my summer
calendar. On this occasion I was especially looking forward to
hearing John Wilson's partnership with the BBC Scottish Symphony
Orchestra, and finally, hearing his own Orchestra live. I also caught
the new opera by Emma Howard.
The best of the
weekend was to be found in the two orchestral concerts on Friday and
Saturday evenings, marrying up, with one exception, a set of works by
Britten and American composers written in 1940-1 or (in the case of
the Grimes Sea Interludes soon afterwards). These couplings brought
out striking connections in musical language, affording the
opportunity to hear afresh the Sea Interludes in particular.
In both concerts the
BBC SSO played outstandingly. The way this band has developed since I
first heard them at the Edinburgh Festival in the late 90s is really
striking. There is a richness to the strings, a ringing quality to
the brass, that the band just didn't possess then. They combine into
an impressive whole. It's a tribute I think to the tenures of Ilan
Volkov and Donald Runnicles as chief conductors.
In terms of the
individual works I found the three most satisfying performances were
the two works with piano solo – on Friday Bernstein's Symphony No.2
(The Age of Anxiety) and on Saturday Britten's little known
Diversions – one of that legion of works written for piano left
hand for Paul Wittgenstein, and Copland's little gem Quiet City (the
solos taken by members of the orchestra). Neither of the works with
piano is I think a masterpiece, but both deserve periodic outings,
and thus are the kind of things which should find a place in Festival
programmes. On both occasions we were blessed with magnificent
soloists – Cedric Tiberghien in the Bernstein, and Pavel Kolesnikov
in the Britten. Both had a lovely unshowy virtuousity, a command of
dynamic range and mood, and came across as in sympathy with the
character of the pieces. After the Britten, Koselnikov also spoiled
us with a magical account of what I think was a Chopin Mazurka. I
would like to hear more from both. Just occasionally, I thought
Wilson allowed the orchestra to swamp the soloists. The Copland was a
lovely change in mood, solos beautifully performed - a testament to
the strength in depth of the band.
The other two
Britten works were both familiar to me, his Sinfonia da Requiem and
the Sea Interludes and Passacaglia. In the former Wilson found the
requisite drama and emotional punch. The latter was a most
interesting experience – I seemed to hear Broadwayesque echoes in
the music that had never struck me before. Here too, drama and
forward momentum were central, an approach which worked best in
Sunday Morning and the final climactic storm. That said there was
haunting, intimate work in the Passacaglia, including a beautifully
judged viola solo from Scott Dickinson. In Dawn and Moonlight I did
feel that just occasionally Wilson could have benefitted to go just a
fraction slower and softer, to tap in just a little more to their
more mysterious qualities. I would also say that I've known Storm
Interludes that manage the buildup with just that bit more nuance.
Wilson and the BBC
SSO closed out their concert on the Saturday with Copland's Billy the
Kid. Again there was much to enjoy here in the feeling of drama
Wilson brings to these scores, and the fine playing from all sections
of the orchestra. But Wilson sometimes seemed to like his triple
fortes a bit too much – fewer of them, and a more subtle build up
at times could yield punchier results. Towards the end, I did begin
to feel, especially in the very resonant Maltings acoustics, a little
bit battered.
The least successful
element of the weekend came on Sunday afternoon with the performance
of the new opera, To See the Invisible. This is based on a Robert
Silverberg short story in which a man is rendered invisible for a
year because of an act of coldness. Not having read the story I can't
say whether it is any more explicit about the context than this –
one of the problems with the adaptation is that context is sadly
lacking – it is never clear how this order of society has arisen.
The ensemble of fine
singers give it everything, as do the players from the Birmingham
Contemporary Music Group, but I'm afraid I found the work itself weak
and overlong.
The major problem
is, sadly, Emily Howard's music. Firstly, Howard makes unconvincing
decisions about what text to set to music and what to leave as spoken
lines. Spoken text in opera is nearly always, in my experience,
perilous, and this was no exception. The reasons for particular
decisions here almost never convinced. The text itself rarely gained
from being set (unless you find, as I suspect was intended but was
not for me, the repeated singing of such a line as “raspberry
ripple with a chocolate chip” (approximately) in itself funny). The
pacing is often so slow that you could see the end of the sentence
coming from some distance away and the possibility of impact has gone
by the time the ending arrives. A further problem is the paucity of
Howard's musical language – after about the first ten minutes
you've pretty much heard the full range of the score and the work
then continues for another seventy. The thinness of that language is
the more exposed by the inclusion of lengthy quotations from what I
thought might be Dowland and what was definitely Mozart – it is,
incidentally, not clear to what end these quotations are made.
Finally, there's a serious lack of dramatic tension. The environment
should but doesn't feel menacing, I didn't care enough about the
characters, and while I suppose the pacing may have been intended to
make us empathize with those characters rendered invisible for a year
I'm afraid the effect was not to make me care more about them but
simply to render me bored.
Finally, on Sunday
evening, my weekend ended with the John Wilson Orchestra and four
soloists in a concert of bleeding chunks from Bernstein. I'd looked
forward to this in advance. The highlights were unquestionably Louise
Alder's solos – especially an electrifying Glitter and Be Gay
(Candide) – I shall be looking out for the chance to hear her in
more traditional operatic rep. There was also some fine singing from
Kim Criswell and Nadim Naaman. But there was, for me, something of a
problem. The singers were miked. No doubt this was necessary to
enable them to carry across the band, but the engineers didn't get
the balance right – singers still got swamped at times and the
overall effect was to flatten out both dynamic contrast and
orchestral colour – I felt I could sense both were there but the
sound design and the overall acoustics made it impossible to properly
hear it. I confess my enjoyment of moments such as the climax of the
West Side Story Quintet was hampered because (even in Row T) I found
it too loud. I suspect this is a problem very difficult of solution
in putting such a performance in the Maltings because the acoustic is
so resonant, but if the Festival plans to repeat it (and I'm
altogether in favour of broadening the scope of the Festival in this
way) I think it'll need to try and find ways to address these issues.
Overall though this
was in many ways an enjoyable weekend in what are always magical
surroundings. It also poses one final question, why the Edinburgh
International Festival (given its desire to broaden the musical
offering) has yet to programme the BBCSSO/Wilson combination (or
indeed the John Wilson Orchestra) – especially given that one of
those is a home team...
No comments:
Post a Comment