Tag: Tchaikovsky

Lyubov Petrova: “I’m Always Learning Something”

Petrova soprano Russian portrait head shot singer art opera

Photo courtesy IMG Artists

Lyubov Petrova is an artist impossible to put in a box; as you’ll read, that’s just the way she likes it. An immensely gifted soprano with a knack for infusing her singing with a keen sense of storytelling, Petrova has an immensely varied opera history, from a smart, note-perfect Adele in Stephen Lawless’s 2003 production of Die Fledermaus at the Glyndebourne Festival to a raging Queen Of The Night in Kenneth Branagh’s fascinatingly recontextualized cinematic adaptation of Mozart’s Die Zauberflote (2006). She’s also ace at epic concert repertoire (including Rachmaninoff’s choral symphony The Bells and Brahms’s Ein deutsches Requiem), as well as more intimate work, a talent she poetically showcases on her 2017 album of Tchaikovsky and Rachmaninoff songs.

A winner of the 1998 International Rimsky-Korsakov Competition and 1999 International Elena Obraztsova Competition, Petrova trained at the Tchaikovsky Conservatory in Moscow before joining the Metropolitan Opera’s Lindemann Young Artist Development Programme, and has enjoyed numerous Met appearances, including as Zerbinetta in Ariadne auf Naxos (her Met debut), Sophie in Der Rosenkavalier, Pamina in Die Zauberflöte, Norina in Don Pasquale, Sophie in Werther, Nannetta in Falstaff, and Woglinde in Das Rheingold, to name a brief few. The New York-based soprano has performed with numerous other North American outlets too, including Dallas Opera, LA Opera, Pittsburgh Opera, Houston Grand Opera, and Washington National Opera, and has performed at various festivals worldwide, including ones Glimmerglass, Glyndebourne, and Spoleto, at the Bellini Festival in Catania, the Pergolesi Festival in Jesi, Italy, and the BBC Proms.

Petrova soprano Russian portrait head shot singer art opera

Photo: Ronnie Nelson

Petrova has appeared with numerous prominent international houses including Opéra National de Paris, Teatro Real Madrid, Teatro San Carlo di Napoli, Teatro Massimo in Palermo, Dutch National Opera, New Israeli Opera, Korean National Opera, the Bolshoi, the Kolobov Novaya Opera Theatre of Moscow, and the Teatro Colón (Argentina). She’s also done a range of symphonic and concert work (music of Bach, Mozart, Rossini, Donizetti, Bellini, and Bizet, to name a few) with an assortment of orchestras including the Hong Kong Philharmonic, the Orchester Pressburger Philharmoniker, the Moscow Chamber Orchestra, and the Russian National Orchestra. One look at such a varied history reveals an impressive and entirely consistent development into vocally heavier repertoire, while still keeping a firm foot in Petrova’s place of origin (figuratively and literally) – a tuneful and fleet-footed spot with an ever-present edge of laser-like authority.

Petrova first caught my attention through her remarkable, gleaming, in-concert performance in Prokofiev’s Semyon Kotko with the Netherlands Radio Philharmonic at the Concertgebouw in 2016, where she brought a thoughtful lyricism to Prokofiev’s angular, driving score, making the fraught nature of the work  – and its deceptively simple characters – warmly, recognizably human. During the opera’s composition, the opera’s would be producer, Russian theatre artist  Vsevolod Meyerhold, was arrested and later murdered as part of the Great Purge; at the time of its 1940 premiere its perceived importance was strongly connected to a “Soviet opera” aesthetic (despite the frisson between its obvious melodramatic and moralistic scheme of social realism), a perception strengthened for its being based on Valentin Kataev’s 1937 novel, I, Son Of The Working People. The complicated nature of the work, combined with its even more complicated (and tragic) composition history (involving the sudden disappearance of Meyerhold as well as a political pact that necessitated changing the bad guys from Germans to Ukrainian nationalists), plus its (predictably) myopic reception (celebrating its ideology while ignoring the music) meant the opera wasn’t performed anywhere between 1941 and 1958, and only entered the repertory of the Bolshoi in 1970; Prokofiev would later compose an orchestral suite based on the opera. It is notable when singers can integrate this sort of charged history into the very seams of sound, so that performances become much greater than the sum of their individual parts; such visceral interpretative artistry is what Petrova – and indeed the entire cast – did with such affecting results in Amsterdam in late 2016.

Petrova’s vocal warmth is something of a signature. Her tonally shimmering, golden-hued turn as Freia in Wagner’s Das Rheingold was truly memorable, part of an in-concert presentation in early 2018 with the London Philharmonic Orchestra featuring Michelle de Young, Matthias Goerne, Matthew Rose, and Brindley Sherratt, under the baton of conductor Vladimir Jurowski; she performed the role again the role later that same year with the Odense Symfoniorkester (Denmark) with conductor Alexander Vedernikov. 2018 also saw Petrova sing the role of Marfa in Bard Music Festival‘s presentation of The Tsar’s Bride and perform works from Shostakovich’s 1948 song cycle From Jewish Folk Poetry as part of Music@Menlo. 2019 opened with the music of Mozart, with Petrova taking on Countess Almaviva in Le nozze di Figaro with Florida Grand Opera. Freia returned with an October 2019 in-concert presentation of Das Rheingold in Moscow, again with Jurowski but this time with the State Academic Orchestra of Russia Evgeny Svetlanov.

Petrova’s 2017 album Tchaikovsky, Rachmaninoff: Songs (Nimbus Records), recorded with pianist Vladimir Feltsman, showcases this vocal excellence, and nicely displays another side of the multi-faceted artist, a silken, soft suppleness that delights the ear. Her caressing of the text, careful phrasing, and thoughtful tonal intonations betray a deeply sensitive artistic sensibility able to quickly adjust itself according to both the tangible and intangible elements of music-making. In 2017 music writer Ken Herman noted of Petrova, in relation to her performance at that year’s edition of the La Jolla Music Society Summerfest, that “(w)hether she sings of love, death, sorrow, […] she never merely sings about these states—she incarnates them and forces her listeners to confront them.” It’s an observation that feels very apt to not only the works on her album, but her artistic approach overall, one that combines a deep musicality and love of text with a natural affinity for theatre and drama. Listening to Petrova isn’t a mere exercise in passive hearing but an active experience of the visceral power of her art, and her skill in expressing it with such a vivid force of conviction. Indeed, David Patrick Stearns’ observation in Gramophone that “when she sings of ‘magic stillness’ in ‘A Dream’, you hear it in her voice” applies far past the final album track to which he alludes.

Petrova is currently preparing for her premiere performance of Beethoven’s Symphony No. 9, happening at Moscow’s Zardadye Concert Hall on February 22, with Tchaikovsky’s own “Ode To Joy” Cantata also on the bill. Vladimir Fedoseyev conducts the Tchaikovsky Symphony Orchestra together with the Prague Philharmonic Choir and chorus master Lukáš Vasilek, together with fellow soloists Daria Khozieva (mezzo-soprano) Vladimir Dmitruk (tenor) and Nikolay Didenko (bass). A more intimate appearance takes place at Zaryadye (in the small hall) on March 6, when Petrova will be giving a recital with pianist Rem Urasin. Together, the appearances encapsulate Petrova’s refusal to be easily classified or boxed in by sounds or experiences. We spoke recently when the soprano was recently back in Russia and busily preparing for her upcoming Zaryadye performances.

How did you choose the songs on your album?

I went through the whole of two Tchaikovsky volumes of song, and one big book of Rachmaninoff songs. I went through all of them, and chose what I liked, basically. Vladimir (Feltsman) also had ideas of what he wanted or not to do but mainly he left it all  to me, and it was very special. Most of the songs I’ve never sung before, so it was very risky, I have to to say. We have a funny saying in Russian; we say, “the first blin” – blin is like a Russian pancake – “always goes badly” – but I don’t think it’s the case here, so I’m happy!

singer pianist Petrova Feltsman album classical opera vocal songs Rachmaninoff Tchaikovsky

Photo: Vladimir Feltsman / Nimbus Records

I feel like your interpretations offer understanding on a deeper level that goes past language.

It’s like souls talking – mine, Vladimir’s and every person who listens. And it’s very universal. That’s the key to music: it communicates beyond words, heart to heart.

So are some of these going to be part of your recital in March at Zaryadye Hall?

Yes, most definitely, and with another phenomenal pianist, Rem Urasin.

Many singers I’ve spoken with emphasize the importance of doing recitals. What does that experience give you creatively?

It’s very true; recitals give a completely different connection with music, and a different connection with the audience, actually. The songs are rather short so you have to create a whole world in two to seven minutes, and it has to be the story, the complete story, so one recital in two sections gives us ten to twelve different worlds in each half, twenty to twenty-four songs all together – so basically I create twenty-four different worlds in one evening. And then I also love how it’s me, and the pianist, who is part of me – we are together; I always try to become one person with the pianist, and the audience. On stage we are very exposed, much more than in opera where we have costumes and sets and a director; it’s a completely different interaction. In recitals, I’m basically just sharing who I am and what I’ve learned; it’s much more intimate and in a way we are completely naked.

Petrova soprano Russian portrait head shot singer art opera album songs cover

Photo: Nimbus Records

When you emerge on the other side, what things do you take back into the world of opera?

Absolutely I come out different. I know myself much better through this experience, as a musician and a person; I can create more defined characters and go, on a much, much deep level, into the characters I play onstage. I love drama, and I love theatre, and I love opera. I’m a singing actress, no questions asked – but I started to feel suffocated without doing recitals, without those little songs. I missed not sharing that side of me with people, and not having that experience. So I’m happy I am able to sing more songs nowadays.

And you’re doing your first performance of Beethoven’s 9th soon. His vocal writing is known for being difficult; what’s your experience as someone new to singing his music?

You know, as short as (the vocal part in Symphony No. 9) is – compared to any opera it’s very short – I have to agree, it’s difficult and rather demanding, and from a soprano point of view, it’s very high; he keeps the vocal line up there and we have to soar above the orchestra, and yet keep it graceful and also be “full of joy! full of joy!” but I’m very excited and am working hard on it. But of course I don’t want anybody to hear “Oh, she’s working hard!” when I perform it!

Sir Antonio Pappano recently said that Beethoven’s writing for voice is entirely analogous to his instrumental writing, minus the consideration that people actually have to breathe.

Yes, I know what he means. Basically you use everything you’ve ever gathered as an artist, and try to enjoy it and pray it comes out well! There are some brilliant moments – it’s phenomenal music.

stage performance three singers arts classical opera Rose Sherratt Petrova LPO Wagner Rheingold

With Matthew Rose (L) and Brindley Sherratt (R) in the 2018 London Philharmonic Orchestra presentation of Das Rheingold. Photo: Simon Jay Price

You’ve done Wagner too, which is also demanding vocally, though in an entirely different way.

I’m starting to do Wagner, and I have to say … it’s, well, Wagner is a genius but only when I started singing his music did I really embrace it, and now I’m feeling , like, “Wow, what a phenomenal experience for any musician to sing his music!” There’s a lot to discover in his work, it’s true – but I was surprised. I surprised myself at how much I love it.

It’s not music that is commonly done in Russia either.

Not that much, only in St. Petersburg – it’s done almost exclusively there. A few pieces are performed here and there, outside, but not really. I have to say it’s a whole universe, and I’m excited about becoming a part of it.

There’s no end of learning when it comes to Wagner’s work.

That goes with my whole philosophy about singing and stage and my profession: I never stop learning. Since I started singing, it’s always, to my mind, been a process; I’m always learning something and trying to make my instrument better, and finding new ways and colours. It’s non-stop. Wagner fits in perfectly in with how I see myself as a singer and my job.

You’re featured on The Compassion Project (Innova, 2018) as well – your work on the album features some new sounds for you, writing which I think suits you well vocally. What does performing contemporary work give you artistically?

I am searching for the not-well-known stuff, for things forgotten or for things fallen out of the limelight. I think it’s exciting for us as musicians to find those gems and open them and bring them to people. On our album with Feltsman there’s also some pieces of Tchaikovsky, ones few ever knew of – and it’s Tchaikovsky, of all people! It’s the same with contemporary music, but you see, it’s, how can I say, it’s challenging most of the time for singers if they don’t have a musical background, because you need to have a very attuned ear. You have to hear, really well, the intervals and all of the changes in harmony (within the composition) – it’s just a skill. As long as a young singer is willing to learn and challenge him or herself, they’ll find it exciting and fascinating, but if they are not secure enough, then of course it’s easier to stay with Mozart, because it’s universally harmonic and easy and something they’ll hear again and again.

and it’s something audiences will have heard a lot as well. There’s something to be said for classical artists purposely – and purposefully – doing things outside the mainstream, on mainstream stages.

Yes, and I have say unfortunately it’s not that easy, because some people who organize concerts and programming at concert halls – not all but some – are afraid of new pieces, even if it’s not contemporary music. Recently I did a beautiful cycle by Bartók; it’s not contemporary – I mean, it isn’t Mozart but it’s not contemporary – but it’s glorious music, and I had to push for it. I had to use my name and all that, to just say, “Hey , don’t ignore this just because people haven’t heard it!” And later (audience members) came up and said, “That was phenomenal – thank you for introducing that to me!” People who organize for venues are scared, I guess because there are problems with financing – maybe difficulties related to the financial end of things – but hopefully again, if we keep doing what we love and what we feel is important, then we will push through these tough times.

It’s a chicken-and-egg situation.

Yes.

stage opera classical performance Mozart Florida Petrova soprano singing costumes

As Contessa Almaviva in the _ production of Le nozze di Figaro at Florida Grand Opera. Photo: Chris Kakol

Classical organizations in North America are facing similar issues, if in a more concentrated way. For instance, if Stravinsky is programmed, it’s always The Rite Of Spring, which is considered daring; it’s never lesser-known works that are just as interesting, if not more so. Organizations are scared tickets won’t move, but if you never program it, people won’t know, and they won’t have a chance to decide for themselves.

Thank you very much, yes!! But also for a musician it takes time and experience to have grown into that. For me, I feel now I have something special and unique to say in those new pieces, I feel I’ve grown in music and into the music and have learned enough in order to do it.  So I can offer my vision and feel of it, and I hope people will love it, because it’s something new, something very personal and human. But again, it is constant work, and it all depends on if we’re willing to work and make ourselves better, and if we’re willing to push other things, and make concerted, constant pushes toward… what’s the word…

Evolution?

That’s a good one, yes. Never stopping. Trying new things will always teach you something!

Evolution is two-pronged; it’s work, as you said to do this – evolving is work– but it’s also allowing yourself to evolve, which means being open to all sorts of things, including discomfort, which takes courage to face. How much did your time with mezzo-soprano Elena Obraztsova helped to cultivate that quality?

She has always been one of those people I look up to, and the fact that I had a chance to meet her personally and a chance to share the stage with her… it’s huge! Also the trust she put in me and, you know, she was such a generous and kind person, and the things she told me when I was still young gave me so much confidence, you know what I mean? She believed in me so much, and that belief gave me wings, like, “Go baby, fly! Enjoy the singing and share with the people your gift!” Such an amazing woman and amazing artist she was, and I feel very fortunate and very blessed she was in my life, she IS in my life. I have, as we say, a ticket and a blessing from her for this career, and for this world of singing.

Petrova soprano Russian portrait head shot singer art opera stage live presentation performance

At the Opera Ball at the Bolshoi in November 2019. The concert was in memory of mezzo-soprano Elena Obratzsova. Photo: ITAR-TASS News Agency/Alamy Live News

How much did she help to instil your sense of exploration?

It’s just how she was herself; Elena was never afraid to take a risk. For example, at some point she went into theatre; she was doing a lot of things with various organizations – recitals and working with contemporary composers, and being onstage doing big opera things and going to recital halls and doing small pieces – and when she was older she went into theatre, and people said “Are you crazy? What are you doing?!” And she was brilliant! But the main thing is she enjoyed it, and that was one of the biggest inspirations. (Obratzsova was artistic director of the Opera Company of St. Petersburg’s Mikhailovsky Theatre from 2007-2008, and appeared as The Countess in their production of Tchaikovsky’s The Queen Of Spades in 2011, the same year she created a charitable foundation to promote music education; she passed away in 2015.)

There are so many languages an artist can speak in terms of different ways and different approaches, and (Obratzsova) showed all of us there is never one way, that we don’t have to lock ourselves in one box: “I’m doing opera” or “I’m a recitalist” or whatever. She was free herself, and she inspired us in that way, those who were her students or the winners of her competition. She never put any chains on anybody; she never put anyone in a box. And that was a very big inspiration, no question.

That’s how it seems with you, that you’re not in a box of doing one style or sound, which reflects your life between the United States and Russia.

I feel like it’s a blessing and a gift; every way is different. Everybody has a right to choose the way they’re living and approach careers, and I love it. It’s very challenging, that’s true, but I do love it and I am trying to enjoy every minute of it. When I sing Wagner that doesn’t mean I don’t love singing Handel, or that I can’t; if I sing Handel that doesn’t mean I can’t sing my heart out in other modern pieces, or do the most intimate, almost whispering things in a recital. I love it all.

Vasily Petrenko: Paying Attention To Details

Vasily Petrenko conductor culture classical music Russian Met opera debut

Photo: CF Wesenberg

The last time Vasily Petrenko and I spoke was in a windowless room full of whirling fans. There’s still a feeling of summer in September in Bucharest, and this year’s heat was particularly intense; I was worried conditions in the Sala Palatului conference room would prove a bit too warm for a conversation about the music of Enescu, Bartók, and Torvund.

The busy conductor, a native of Saint Petersburg, was in town for two concerts as part of the hectic Enescu Festival with his Oslo Philharmonic, of which he is Chief Conductor. (My report on the festival featuring said interview is publishing in the upcoming winter edition of Opera Canada magazine.) Despite the heat, Petrenko was his lovely, chatty self, full of insights, observations, and charming stories. His concerts, with soloists Leif Ove Andsnes and Johannes Moser, respectively, were met with outpourings of loud cheers and happy shrieks, to which he jovially responded with a broad smile, playfully encouraging gestures (one hand, then another, on ears with matching eyebrow waggles and forward-leans), and energetically performed encores.

Vasily Petrenko conductor stage podium music classical orchestra Oslo Philharmonic Bucharest Enescu Festival culture Romania

At the Enescu Festival, September 2019. Photo: Andrei Gindac

That joviality was revealed again in a more recent conversation, this time over the telephone, with a bit of tags-and-snags at the start. “It’s a big building!” Petrenko exclaimed about the Metropolitan Opera, where he’s making his company debut leading a revival of Tchaikovsky’s Pique Dame (also known as The Queen of Spades), featuring Yusif Ayvazov as the tormented Hermann and Lise Davidsen (also making her Met debut) as Lisa, in a 1995 production by Elijah Moshinsky. Based on the Pushkin novel, the work is set in Saint Petersburg and is a haunting love-gone-awry tale with strong elements of the supernatural, the sadistic, and the spiritual. The production opens tonight (November 29th) and will be broadcast live on Met Opera Radio on SiriusXM as well as streamed at the Met Opera’s website.

Petrenko is making his Metropolitan Opera debut amidst a raft of conducting duties. As well as being Chief Conductor with the Oslo Philharmonic, he is also Chief Conductor of the Royal Liverpool Philharmonic and European Union Youth Orchestras, and Principal Guest Conductor, State Academic Symphony Orchestra of Russia (“Evgeny Svetlanov”). As of 2021, he becomes Music Director of the Royal Philharmonic Orchestra, and has big plans for presenting the work of Mahler. His latest albums including a beautiful, sensitive recording of Beethoven’s First and Second Piano Concertos with pianist Boris Giltburg and the Royal Liverpool Philharmonic (Naxos), and another (again with the RLPO) featuring the music of Kabalevsky, Khachaturian, Shchedrin, Mussorgsky, and Rachmaninoff (Onyx).

These are part of a vast discography comprised of  Shostakovich, Stravinsky, Strauss, Liszt, Szymanowski, Rachmaninoff, Prokofiev, Tchaikovsky, Scriabin, and more; when I interviewed Petrenko this past spring following the announcement of his Royal Philharmonic appointment, I swooned over the awesome beauty of his Elgar interpretation, writing the recordings “brim a lively, warm energy, a keen forward momentum, effervescent textures and poetic nuance, underlining the joy, drama and humanity so central to Elgar’s canon.” That humanity is so palpable experiencing Petrenko live. It’s hard to overstate the warmth he brings to even the most brutal of scores, an innate beauty which allows the listener to experience deeper, more vivid shades and textures. Much of that comes down to a detailed approach, something Petrenko emphasized in this, our latest conversation, with him happily chatting for thirty minutes between rehearsal sessions at the Met.

Petrenko’s current experience in the Big Apple has not been without surprises. The Queen of Spades, meant to have been his New York debut, was temporarily placed to the side when Petrenko stepped in at the very last moment earlier this month to replace Mariss Jansons on the podium on what turned out to be the final stop on the Bavarian Radio Symphony Orchestra (BRSO) tour. How do you get to Carnegie Hall? Practise, timing, and as it turns out, knowing Shostakovich Symphony No. 10 very, very well. Critics were effusive in their praise of the concert, with Musical America hailing Petrenko’s “palpable sense of musical storytelling” and noting his “hard-driven approach… added a welcome edge of hysteria to the suspiciously sugary main theme. A willingness throughout his reading to explore ambiguities often hiding in plain sight gave the rush to the finish a quality that was both exhilarating and appropriately double-faced.” The praise, however, doesn’t feed in to pressure, because as Petrenko explains, that feeling comes from a different and far more personal place. I’ll let him explain.

Jansons conductor maestro Latvian classical music

Mariss Jansons. Photo: Martin Walz (via Berliner Philharmoniker)

Update: Maestro Mariss Jansons passed away on November 30th, 2019, one day after this feature was posted. On his Facebook page, Petrenko wrote about his experience with the famed Latvian conductor:

I have always felt like I am walking a little in some of the footsteps of Mariss Jansons: most tangibly in the personal and artistic footprints he left with his long and illustrious tenure at the Oslo-Filharmonien, where it is such an honour to be his successor, but he has been a defining and deeply beloved presence from my earliest days, attending his rehearsals and masterclasses in St Petersburg, and through his legacy of concerts, recordings, lessons and advice, that have always been a touchstone for me. Thank you, dear Maestro, for all you’ve given to us, for your smile, generosity and warmth, and for simply bringing all of your heart into our musical world. It was a joy to be able to make music last week with your wonderful colleagues in the Symphonieorchester des Bayerischen Rundfunks, although those circumstances are now framed with such sadness. You will always be alive in our memories, in our souls and in our performances.

Met opera stage singing classical music Russian Pique Dame NYC Larissa Diadkova

Larissa Diadkova as the Countess in The Queen of Spades. Photo: Ken Howard / Met Opera

How are rehearsals for The Queen Of Spades going?

We just finished one rehearsal and ready for another in forty-five minutes. It’s a lot of work as always and especially for the last ten days for so before the first night, so we’re all working hard at the moment.

And you were at Carnegie Hall too!

(Laughs) I was there yesterday just to listen… 

How did it happen that you stepped in for Mariss Jansons? You studied under him at one point, yes?

I grew up attending his rehearsals and concerts with the Leningrad Philharmonic, and later in the Conservatory I had Master Classes with him. I wouldn’t say we’re friends – there’s a big age gap between us and he’s from a different generation – but we spoke with each other several times and in some ways I’m following his path in Oslo, with the Philharmonic there.

What happened here is that after rehearsals here at the Met one day I came home, and had a phone call about midnight actually, asking if I could be available for the next day’s concert at Carnegie Hall. I said it would be my greatest honour to save the concert and to help with Mariss if he will not be able to conduct for the next day. They didn’t change the program, and luckily I know all the pieces very well – I had performed them many, many times – so it was a case of, let’s see what tomorrow brings and in the morning we’ll have a decision. So the next day I went to the Pique Dame rehearsals at the Met in the morning, and during that time I was brought the scores for the BRSO concert, and after that there was a forty-five-minute rehearsal with the (BRSO) in the evening, and then the concert. They are a great band, an incredible orchestra with a lot of incredible soloists – one of the top bands in the world – and, to their credit, they are also very flexible. I haven’t heard how Mariss interprets Shostakovich 10 with them so I guess I was doing it slightly different than he had done it on tour, but for orchestra to be able to follow with different interpretation almost without any rehearsal…  huge kudos to them. The chemistry happened very quickly between me and the orchestra. I think part of it is because there was no other option! It was a great pleasure to be stage and it was a good concert, and it was a good party after the concert! They’d had the last concert on their autumn tour and were departing back home.

Petrenko conductor BRSO Carnegie Hall Maestro Russian orchestra music classical stage

At Carnegie Hall, November 2019. Photo: Bavarian Radio Symphony Orchestra

So you got a direct taste of New York audiences through this.

It was a very warm audience, with a lot of cheering and applause. I visited Geffen Hall for a concert with the New York Philharmonic, in which Esa Pekka (Salonen) was conducting the other week, and I’ve seen things here in the Met too, and you always sense a lot of excitement with audiences and a lot of openness and cheering, which is always very nice for the artists.

How much of that creates pressure creatively?

I think talking about pressure… to me honestly, the pressure is always only about myself, it’s only about doing better than the last performance. It’s a sort of perfectionist pressure which I always have in my veins, and which I always feel in that sense.

So how does that translate into a house like the Met? 

It’s one of the largest opera houses in the world, and we are trying to do our best, listening to several performances of operas over the past few weeks. I’m also figuring out how to do things in the pit while balancing onstage action to allow the soloists and music to sound natural in such a big place.

Met opera stage singing classical music Russian Pique Dame NYC

A scene from Act II of The Queen of Spades. Photo: Ken Howard / Met Opera

You have an interesting personal history with this opera.

I was in it as a boy in the 1980s, as a member of the famous production at the Kirov Opera, because I studied at this special boys school, and several students from there were usually in this production as a choir, so I was one of the boys singing. There are a lot of memories. Later I did a production at the Maly, one of my first revivals was actually was at the Maly Opera Theatre, now the Mikhailovsky in Saint Petersburg, when I was working there; then I did a revival in Hamburg, so (Pique Dame) has been with me throughout my life. I think it’s one of the greatest operas ever written. It has so much meaning and passion, so much philosophical subtext. If you read the Pushkin novel, that’s one of the most incredibly written, equilibristic pieces of literature; it’s compact, it has all these E.T.A Hoffman-meets-Mephistopheles elements in it, and the history and the language, as well as the symbolic things, are absolutely incredible. Very few pieces of Russian literature within the short novel genre surpass this one by Pushkin.

How do you express all that in a production that is so well-known?

There’s always a place for some mystery and symbolism – the Countess breaking through the floor in the scene with Hermann, that’s a moment! Is it his vision? Is it real? When she appears at the end with the gambling scene, is it his vision? What happened with Lisa? There’s plenty of questions you have to answer for yourself. What is the main intention of Hermann? Is it cards alone or related to self-establishment? He’s a German person who lives in Russia in a very different society and deliberately decided to live there, even though it’s not the most happy life in the beginning, and where it leads him… there’s plenty of angles in this opera, and working with soloists and talking about all of this, with sections, and trying to find the right colors in the orchestration and the right balance in the orchestra itself, it’s one of the processes we’re in now.

Vasily Petrenko conductor culture classical music Russian Met opera debut

Photo: CF Wesenberg

How has your understanding changed, especially in light of your symphonic work?

Quite often people ask me what’s different between orchestral and opera conducting, and I think a while ago I found a good image, which is quite true: when you conduct an orchestra it’s driving a car; when you conduct opera, it’s driving a truck or big van. On one hand, driving a car is more manoeuvrable, also you all enjoy company of yourself and you’re not caring so much about certain aspects – you can do what you want, and quickly. When you drive a truck you should be aware of all the movements – the time and response of this big vehicle are paramount – but on the other hand, you can bring many more goods to the people. 

But you have to be more careful about delivering them.

It’s different, because opera has many more people involved, rather than in symphonic concerts. However, the principles are the same. Even in very loud moments, you have to be aware of the transparency of what the composer has written, and you must pay very big attention to all the details the composer put in the score, either in a symphony or opera, and then there is also that something which is beyond the notes: what is most important? What is this music written for? What are the emotions? The philosophic concepts? What is the impact on the audience? It’s not just quavers and semiquavers and quarter notes, it’s moving beyond that. We’re going this direction in both opera and symphony. And of course, when you work in opera, you aim to be careful of the balance between orchestra and soloists and choir. This production has such an incredible cast, each one is outstanding. I’m very lucky to have all of them onstage, and a great chorus too – they’re doing a very good job. I think we have one live broadcast too!

Met opera stage singing classical music Russian Pique Dame NYC

Lise Davidsen as Lisa and Yusif Eyvazov as Hermann in The Queen of Spades. Photo: Ken Howard / Met Opera

So perhaps just a bit of pressure for that live broadcast… ?

I don’t feel pressure about that, really. Again, I’m more thinking about how musically it will all go together, and how I can deliver, how things can gel together – all the soloists, all the orchestra, and all the technicians. There’s a number of scenic effects, some moments when you have to wait or slow down the pace just to achieve the synchronicity between staging and music. It’s a classy production, I’d say. Saint Petersburg is one of the classiest cities in the world for its architecture, especially the Winter Palace – there’s no comparison to it around the world, it’s a unique creation of Peter The Great – so it’s the same feeling in a classy production. There are plenty of details but none of them is not necessary, all of them are very logical and in exactly the right places. 

Do you match that or build on it?

Both. In some places you have to match that, especially in a place where there’s big moving pieces onstage, you have to pace the music so it synchronizes with closings or openings of certain things at some points, on top of all the classical details. I’m adding articulations, for example in the Pastoral, which is written in the way going back into, not Baroque music, but earlier than Mozart; at the same time it’s music-making by Lisa and Pauline, who are playing these Mozart-type arias at home, so for that, there has to be, from the orchestra, this way of playing “a la Mozart” in some ways in terms of style. On the other hand, you still need the feeling they’re trying hard but not professional musicians, as they are not in the libretto; they are, in the tradition of aristocracy, learning music for entertainment, so on top of this classical scene, it’s figuring out how to enrich and give to the audience this understanding of a whole type of music-making within the scene.

How much is your approach influenced by your recordings?

Tchaikovsky’s Symphony No. 1 is one of the most close to Mendelssohn and his territory – Pique Dame has this, a little bit lighter approach into the orchestration in general. During the recording cycle of the (Tchaikovsky symphonies) 4, 5, and 6 a few years ago I said to the orchestra, “Please, let’s not think of him only as this emotional, hysterical type – think about him as a man who spent actually at least three to four months outside of Russia, mainly in Italy, but also Austria, Germany, France – he opened Carnegie Hall!” He was a man traveling a lot and absorbing a lot of principles of other composers. And also there’s a lot of a German way of orchestrating in the symphonies and in Pique Dame. He used all the principles of orchestration of the time, he attended Wagner operas, he was a man who knew so much about the world tradition and that’s what makes him so unique; he had a pure Russian soul and a German way of orchestration, and that’s what I’m trying for in the symphonies, and in some places in Pique Dame

Too often Tchaikovsky’s music is presented in just one way. 

I think you can always find something new, even in the most played and performed score. I’m always trying to find the details, and get from the orchestra and singers something written in the score but probably obscured during tradition, because it is there you get to be very authentic. The devil is in the details, as they say. 

Especially in this opera!

So true!

Will this lead to more opera for you then? 

I hope to do more opera in the future than I was doing recently; I hadn’t done it simply because I was so busy with so many orchestras, but I hope for more productions in more houses.

And in-concert presentations also?

In-concert yes, we are planning a few things for 2020-2021… there are a few things, even some less-frequently performed operas but still great operas which are cooking at the moment. Stay tuned! 

Michail Jurowski: “Music Is An Abstract Art”

Jurowski conductor Russian classical music

via IMG Artists.

Sometimes new works will wash over the listener like a gentle wave. Others will strike intensely, like a thunderbolt. The latter is an apt description of my reaction to hearing Moses, a late nineteenth century work by pianist-conductor-composer Anton Rubinstein. Written in eight scenes and based on episodes from the book of Exodus, the vocal work follows the story of Moses from his childhood through to being given the Ten Commandments and handing authority to Joshua. It’s a long listen (over three hours), but is a deeply evocative aural journey, with an abundance of rich vocal writing weaved throughout a plush neo-Romantic score.

Moses is so familiar, and yet not; epic and yet intimate, religiously specific and yet broadly encompassing, it sounds so much like the things I love and yet nothing at all like any of them. There are clear references backwards (to works by Balakirev and Mussorgsky), forwards (Zemlinsky and Henze), and most firmly within Rubinstein’s own time (specifically Wagner, and more specifically, Tannhäuser and Lohengrin). Being lots of things at once and requiring a very large number of musicians, the work was never actually presented during Rubinstein’s lifetime, or for a long period of time after. A planned presentation in Prague in 1892 fell through when the theatre (then Neues Deutsches Theater; later Státní Opera) went bankrupt; public taste had shifted too, and Rubinstein’s passing in 1894 left the work in relative obscurity – until the efforts of conductor Michail Jurowski.

First, the obvious: yes, Michael Jurowski is the father of Vladimir and Dmitri, both celebrated conductors. Yes, his father was a conductor and composer, and his grandfather, David Block, was a conductor too. Yes, both he and his sons have conducted the work of his father. And yes, Moses was an immense labour of love; the maestro dedicated years to preparing and restoring the score for performance, which took place two ago (October 15th, 2017) at Warsaw’s National Philharmonic Hall. The world premiere, recorded and released last year on Warner Classics, featured the immense talents of the Polish Sinfonia Juventus, Warsaw Philharmonic and Artos Children’s choirs, as well as a talented group of soloists including Stanislaw Kuflyuk, Torsten Kerl and Chen Reiss. The Frankfurter Allgemeine Zeitung called the album “an immense declaration of faith and culture” and indeed, it is that, but it is also a deeply expressive work with a clear narrative sense, thanks to the precise work of its dedicated maestro. Jurowski imbues the work with palpable momentum while allowing moments of deep beauty to shine through: there’s a beguiling interplay between a textured, spindly orchestra and Irina Papenbrock’s silky vocal delivery in “Picture 3: Have You Come, My Friend”; further along, Chen Reiss’ ethereal soprano intones luxuriantly within and around rippling strings and sonorous brass in “Picture 7: Jordan Flows Around Its Loins.” It may be a Geistliche Oper (or sacred opera, a term invented by Rubinstein himself to imply a unique blend of opera and oratorio forms), but Moses has its share of magical moments that transcend the boundaries of faith, and, dare I say, offer a space where one might meditate on the integration of spatial, sensual, and spiritual.

That integration is something Michail Jurowski excels at, through his numerous recordings and live performances. Having studied conducting in his native Moscow under Leo Ginsburg, Jurowski went on to assist the legendary Gennady Rozhdestvensky at the National Radio and Television Symphony Orchestra of Moscow, and conducted regularly at Stanislavsky and Nemirovich-Danchenko Moscow Academic Music Theatre as well as Komische Oper Berlin. Before departing the Soviet Union in 1989 (he’d accepted a permanent post with the Dresden Semperoper), Jurowski had frequently conducted performances at the Bolshoi Theatre. Since then, he’s held numerous positions, including Chief Conductor of Leipzig Opera, Principal Conductor of Deutsche Oper Berlin, General Music Director and Chief Conductor of the Northwest German Philharmonic Orchestra, and Chief Conductor of WDR Rundfunkorchester in Köln; he’s also made numerous guest appearances (Leipzig Gewandhaus, Oslo Philharmonic, Bergen Philharmonic, London Philharmonic Orchestra, to name a few) and has conducted a myriad of operas and ballets in many prestigious houses, including Teatro alla Scala, Bayerische Staatsoper, Oper Zürich, and the Bolshoi.

Michail Jurowski conductor Russian music classical live performance

Photo: T. Müller

Earlier this year Jurowski made his long-awaited North American debut, leading the Cleveland Orchestra in a program of works featuring Tchaikovsky and Shostakovich; the concert was met with extreme success, and, as you’ll read, meant a great deal to the maestro. Recently he completed a series of concerts in Sweden, where he opened the season of the Norrköpings Symfoniorkester; the well-received concert featured works by Mozart, Tchaikovsky, and the world premiere of Elena Firsova’s new double concerto for violin and cello, which featured violinist Vadim Gluzman and cellist Johannes Moser as soloists. Norrköpings and Jurowski have enjoyed a long and fruitful collaboration, with numerous live performances and recordings in their shared history including, quite notably, a 2015 release through cpo featuring the work of his father. Jurowski has also made numerous recordings of the work of Shostakovich, particularly special in light of the close association his family shared with the composer. His 2017 album of live recordings (Berlin Classics) with the Staatskapelle Dresden from the International Shostakovich Festival in Gohrisch won the German Record Critics’ Prize, with the conductor also being awarded the third International Shostakovich Prize by the Shostakovich Gohrisch Foundation that same year. Along with Shostakovich, music of Prokofiev, Grieg, Tchaikovsky, Meyerbeer, Rangström, and Khachaturian (another family friend) constitutes a good part of his discography.

Jurowski Kancheli classical recording Rundfunk-Sinfonieorchester Berlin

via cpo

A cornerstone of my own musical explorations is his 1995 cpo recording of Symphony No. 2 and Symphony No. 7 by Georgian composer Giya Kancheli. Jurowski alternates moments of tenderness and dread in a seriously engaging sonic tapestry underlining textures between strings, woodwinds, brass, and percussion. One moment, shimmering, glittering and gleaming in resplendence, that beauty giving way to awesome, awfully gripping moments of piercing violence. Few conductors, I think, understand Kancheli’s music better than this;  Jurowski engineers the sound against blinking, winking silences in a way that makes one rethink ideas around space, movement, and resonance. Such expertise highlights, once more, that holy, wholly beguiling trinity of spatial-sensual-spiritual in understanding music, an approach I strongly suspect transferred more than a bit onto his offspring.

Among his many engagements this season, Jurowski is scheduled to lead Boris Godunov at Bayerische Staatsoper (a revival of a Calixto Bieito production from 2013) with a stellar cast featuring Dmitri Ulyanov, Ekaterina Vorontsova, and Brindley Sherratt; he’s also returning to La Scala for a revival of Swan Lake. This Thursday he’ll be on the podium for a concert with the St. Petersburg Philharmonic featuring the music of Beethoven and Penderecki. Just as you’d expect, Jurowski is as much of a great storyteller with words as he is with music, and he’s happy to share more than a few intriguing tales. We recently spoke about a host of various topics: his American debut, meeting Stravinsky, and how the experiences of Dmitri Shostakovich underline the importance of nuance in relation to artistic integrity.

Michael Jurowski conductor Russian music classical

via IMG Artists

You had your American debut recently; how did it go?

I felt it was fantastic. It was a huge success. We got standing ovations, and it was a big present for me, especially after a long time waiting.

Too long.

Well you see, better late than never!

Did you notice any differences between American audiences and European or Russian audiences?

In general, no, It is different between a prepared audience and one absolutely fresh, but it can be this way in Vienna, in Berlin, and it is not a question. I met a really very good, prepared, and cultured public. The Cleveland Orchestra has a very long and very big tradition. I heard this orchestra in the 1960s in Moscow with George Szell, and I remember these concerts very well — it was one of the most powerful feelings in my life, to experience such an orchestra and conductor. So when we met it was within the first five minutes we understood each other.

The program was fresh to the orchestra — not the Tchaikovsky violin concerto, but the Eleventh Symphony of Shostakovich, which is today rather seldom presented onstage. It is a symphony which had influence from Hungarian events of 1956, but Shostakovich’s special talent and his genius was that he referenced, in his compositions, the problems of the whole world. The vision of violence, of death, of life, everything, not in the biographical sense in one or other way, but in the intonation. This is really music from heart to heart, and I can say it was truly so. I had the possibility for these concerts to speak with the public, and it was about forty minutes. We spoke about my personal experience with Shostakovich, some biographical moments. It was in parallel with Vadim Guzman, who brought his violin, on which was premiered the Glazunov violin concerto. It was an incredible but historical instrument.

I was very happy. I had not only the possibility to make music together with this orchestra but also to have contact with the public. I had the feeling I was in paradise.

How much do you think music contributes to breaking down barriers — cultural barriers, political barriers, emotional barriers?

Music, first of all, is notes. It is really seldom we can find the direct connection between historical or political events, so music in general is a retrospective art, or an art for the future — what I felt, by some fact of life, or what I want to wish for humanity, and so on. The Tenth Symphony of Mahler connects with the event of the letter of architect Walter Gropius to his wife, and he understood his wife was not with him; it was a shock, and from this shock began the composing of Symphony, the climax of the first movement. It’s a question we know: what was this input (the source of inspiration)? For Shostakovich, for example, one of his most famous pieces is his Seventh Symphony. It was composed during the terrible blockade in Leningrad during the war, but you see, the material of the first movement was in Shostakovich’s head before the war. And for Shostakovich, violence does not have a national form; violence is violence, it is more than geographical. So this is one of the reasons why, for example, the Seventh Symphony has such success today. This season I will conduct it in Italy; I’ve done it almost every year somewhere, and this year it will be in Sicily.

Michail Jurowski conductor Russian music classical live performance

Photo: T. Müller

In an interview earlier this year you said you had wanted to be a film director originally, and I wonder how much cinematic sense you bring, because some of your recordings are strongly cinematic.

Your comparison with cinema… maybe this observation is right. I try to blend with theatre. I am also a theatre (opera) conductor. I look behind and remember in my childhood I didn’t want to be a musician, because my father was a composer. I wanted to be a theatre director. Our house was open for contact with really fantastic artists of the time — among our guests was not only Shostakovich, but also Oistrakh and other great musicians. My father had very regular contact with various artists in cinema as well. In the West the names of Soviet directors are not so important, except maybe Dziga Vertov or Sergei Eisenstein, very big directors of the 1930s — of course society was absolutely closed, but I can tell you that such directors as Bykov, Romm, Gerasimov, and other Soviet directors – they were all top-quality in terms of artists of world cinema. For me, it was a very important moment (to be around them) and to ask myself, “What is moving conflict? How do I find inputs as to what brought this music?” Music is an abstract art; it is only notes. I just try to understand what happens with these notes, but it means I compose, in a sense: the changing of effects, the language of music, this moving between con moto and sostenuto, the idea of musical structure. Musical form can be only realized during live performance; music is when we play and in this case, form, structure. It’s what happens, I hope, when I bring the right form to the public during various pieces.

The other side, from my personal kitchen, is from a time when I had a big friendship with the Tonkünstler Orchestra. The traditions of this orchestra are to repeat one program through seven or eight concerts, so with this program, it was, as usual, a series of concerts including two or three in the Musikverein. It was sometimes rather difficult to repeat, seven or eight times, the same composition, night after night.

That seems rather strenuous!

Yes, it was. For a moment I changed my understanding of this program — what I must feel, what I must think, just come with this Shostakovich work that I had to conduct seven days in a row without pause. This symphony, as with almost all of them, needs very high tension, and after seven concerts I felt myself … well, the best thing was to go fishing afterwards. I was absolutely empty and terribly tired. I was fine up to the second day or after that, but before me was three or four next — that night I understood if I go by plot, so to say, by events, every time, and prepare myself for some climaxes or some moments which in life happened unfortunately, then for me it must be personally not only a pleasure to make big music, but interesting. And from this moment, the door for this action and understanding of what happens in music, was opened.

Composer Igor Stravinsky and cellist Mstislav Rostropovich in Moscow, September 1962. (Photo: RIA Novosti archive, image #597702 / Mikhail Ozerskiy / CC-BY-SA 3.0)

You observed in that same interview that Stravinsky would “imbue the music with a human meaning.” What did you mean?

I had the opportunity to speak with Stravinsky in 1962. He was in Moscow, playing there, it was his visit together with Robert Craft, his first time visiting Soviet Russia. He had received permission to visit. Stravinsky not only conducted – he was a very good conductor – but also he had some meetings with Soviet composers.

My father took me to one of these meetings. Standing there, about four metres from him, he asked me what I wanted to compose. I was sixteen years old. I told him I wanted to be a conductor.

“And what do you want to conduct?”

At that time we were allowed to know Le Sacre du Printemps (The Rite of Spring) — I had the score. I told him, “Of course, Sacre du Printemps!”

“Why?” he asked.

“It’s such a beautiful piece, but so difficult.”

“It’s not difficult,” he said, “everyone and his dog can conduct it.”

I remember this. He was highly intelligent when he spoke. It was incredible. I remember some of the musicologists asking him about his autobiography, things like, “In your conversations with Mr. Craft, what is true?” and Stravinsky said, “Truth is only music; don’t believe the words.”

Stravinsky gave us very different pieces, different ideas. He had personal experience with Rimsky-Korsakov and Tchaikovsky, but his expression became different from the Russian music of Firebird, Petrushka and of course Sacre. He was composing these anarchic, fantastic things, destroying all worlds, with these fantastic harmonies in his new classics. He’s a very important person of the 20th century and I would compare him with Picasso, because stylistically, he is like Picasso: he changed a lot during his life. Where is the real Picasso? We don’t know. And we don’t know where the real Stravinsky is either, but he is real, always.

Jurowski ballet Scarlet Sails Bolshoi dance Russia USSR

Olga Lepeshinskaya as Assol and Vladimir Preobrazhensky as Arthur Grey in a scene from Vladimir Jurowski’s ballet Scarlet Sails, staged at the State Academic Bolshoi Theater of the USSR, December 5,1943. (Photo: RIA Novosti archive, image #941010 / Anatoliy Garanin / CC-BY-SA 3.0)

How does that quality of ‘the real’ translate in leading pieces by your father? Or watching your sons conduct his works?

If you speak about my father, I find him one of the outstanding composers of his time. He died very early – he was 56 years old – and he was not in the music mainstream. We are Jews, the whole family, so within the Soviet Union, our stock line was “ten kilometres” behind others, so to say. His work was not forbidden, of course, he had a very big success with the public, but he had no help from organizations that developed success. His ballet Scarlet Sails, after the romantic novel of Alexander Grin, it was on for fourteen years, on the stage of the Bolshoi – it was on during the war. At the time there was a hunger for the high romantic, and a very, so to say, Christ-like idea about the inferno in life and paradise in future. In this sense it captured Grin’s theme, that patience of the soul has to be without any orders – then Captain Grey will come with a big ship, with red sails, and take one and one’s life. Shostakovich wrote a highly positive critique to this ballet in the central press.

scarlet sails movie poster Russian Soviet novel cinema Grin Alexandr Ptushko

Movie poster for the 1961 film Scarlet Sails (directed by Alexandr Ptushko) based on the novel. (Photo: Mosfilm)

The music of my father was high romantic. I cannot say he was like some other composers. His was tonal music, and with a very positive feeling, but step by step, his own view of life became worse and worse; belief was very difficult and he was ill. There were a lot of difficulties in his life. During the war there were difficulties experienced by everybody, but after the war it was sometimes very difficult, and very personal, and I’m very happy all of us – Vladimir and Dmitri and me – opened the pages of his music. My recordings of his work were met with good press, and there were very successful concerts in Moscow this year, by Dmitri – with his symphonic poem Otello; and Vladimir’s concert with students, he had a big success with Scarlet Sails; and my concert also, with the Fourth Symphony, and again with students of the Moscow Conservatory. The time for him is coming, but it’s not for only my father’s name.

After the war, in the Soviet Union especially and in Moscow, there was an absolutely fantastic group of composers, really high-rate composers, not only Shostakovich, who I think was a genius, but also Khachaturian, Karayev,  Weinberg, and others whose music now also is getting attention. Now I’m making a CD of Weinberg’s music with Staatskapelle Dresden; other pieces are already ready — the Clarinet Concerto, for instance. I hope by the end of this year it will be ready to release.

It’s encouraging to see the work of these composers being more frequently performed and recorded.

It’s very good! I must say, I, personally think society today has a lot of cliches that really close off the connection with the high-level composers of that time – the 1950s, 1960s, 1970s. In this time, Soviet music was not only Schnittke, Gubaidulina, Denisov and so on – whose work I played a lot. Granted, it was not a very big group of composers, but there were enough that any musical culture would be proud to have them. I met practically all of them. After our immigration, I had no contact, not only with these people – most of them died – but the world in the West opened big doors for me, and I had a free feeling from different sides.

Now I’m almost 74 years old, and I don’t think I lived with a view that looked only behind, of course not, but I understand that not everything today is for the development of the soul, so I try with all my forces to compensate for that, and I’m very glad that Vladimir has done practically the same. It’s in a bit of a different form, but he has more possibilities. He is now at the age — well, a little older — as I was when we jumped to Germany. At his age right now is precisely when I really began my world career, incredibly.

It was like a whole second life for you to start over as you did.

In this form, yes.

classical live performance moser gluzman jurowski sweden culture

Leading the Norrköpings Symfoniorkester in October 2019 with violinist Vadim Gluzman and cellist Johannes Moser. (Photo: Calle Slättengren / Norrköpings Symfoniorkester)

What role do you think authenticity plays? You mentioned cliches and the development of the soul. It seems like within the cultural world today authenticity is getting harder and harder to find.

I suppose that it depends from what point of view you take things. In the famous and very good Little Tragedies story of Pushkin, Mozart and Salieri, there is a whole tragedy from the phrase, “There is no justice on the earth, they say. But there is none in heaven, either.” I think that is wisdom and… we must give the last moments of our time for beauty, or for persons, and so on. Every event has different sides. It is today very simple for young people to say, “Shostakovich was a collaborator, he was a Communist party member” – but today it is not obligatory to be a member of some party.

At the end of the 1950s, especially for Shostakovich, he felt like Hamlet, “to be or not to be” – to live or not to live, because after Stalin’s death, it was a bit of fresh air. I remember this time, I was eight or nine years old. I remember it very well. And it was from one side to the other side; the role of music in creating a social community was incredibly important, higher than now. At that time, the leader of the Soviet composers Tikhon Khrennikov, was a composer – not a high composer, but good, and his idea was not to help somebody who might be better than him. That was clear. In fairness, I must say that Khrennikov managed to save the Union of Composers, unlike other creative unions – ones for writers, artists, theatrical figures, where there were many victims of the great terror after the war in the 40s. But, it happened with a lot of conductors as well, ones who didn’t want a guest conductor better than they were.

Michail Jurowski conductor Russian music classical live performance

Photo: T. Müller

Some would observe that’s the negative side of human nature.

Yes, human nature. From the other side though, the position of composers was not only from the point of view of cultural but international presence, because internationally there were only two names – Prokofiev and Shostakovich, and later Khachaturian, who was from Armenia, which helped. Near to Shostakovich were some friends, who were also as I understand now, secret agents of the KGB. They gave him advice, and it was around this time when Shostakovich considered suicide.

It was at the time when his wife had died (in 1954), and Shostakovich had come to his moment and he could not compose or do absolutely anything. He had two children that needed at that time to come to the light road, so to say – his son Maxim, and his daughter Galina – but Shostakovich was absolutely destroyed as a person. His friend, cinema producer Lev Arnshtam, who made the film Five days, Five nights, invited the composer abroad in what was then the DDR. (Shostakovich was composing music for the film, a joint project between the Soviet Union and East Germany about the WW2 bombing of Dresden.) When Shostakovich got to Dresden he was given the possibility to live in Gohrisch (roughly 47 kilometres southwest of Dresden). Nothing had been destroyed there during the war, unlike Dresden, which had been totally destroyed. Gohrisch was not a village, not town, but something between; it was filled with fantastic air, good views looking to the river, mountains – but Shostakovich cried every day, he could not compose, until one day he made the conscious choice to stop composing the film music and instead composed the Eighth String Quartet, one of the most important compositions of the 20th century. He wrote it in three days. Then he received the advice  to be member of the communist party, and decide all his problems in one day. He was not really a member of the party as a big ideologue – absolutely not – but most people near him understood why he made this step, and from it, he was able to compose what he wanted. He said, “The more decent people in this party, the more likely it will be better.” Naivety…!

Is knowing when to compromise the secret to authenticity, do you think?

It’s the secret of surviving the regime. It was an opportunity to save himself. In Stalin’s time, he was in danger, and after Stalin died, he could’ve been a hero of fairy tales, but, I must say, political power was afraid of him, because he could write some tune for the anniversary of the Republic, or the Seventh Symphony inspired by the Psalms, or use poems of Yevtushenko in the Thirteenth Symphony with double sense – Shostakovich knew to do this, not only in his big symphonic works but in his quartets. So to give some reply here… when we speak about cliche, well, it originates from an order: “Who is not with us is against us. We must know that the crocodile that ate your enemy is not your friend yet!”

A cliche can today bring mass ideology, mass meaning, mass press, the point of view of one composer against another; this is very sad, because we have really very different points and conditions of life, and if we don’t understand this, we can’t give our true selves, guilty or not guilty.

It feels like there are a lot of artists now who still have to make those compromises in order to work and to ensure their ideas are heard.

I don’t know. Maybe. I understand today it is practically almost all the same, what happened with humans and artists – there are some groups of covert artists who are, so to say, in front, and these artists must be, possibly, in good shape with their souls. But, I don’t know if it’s good or not-good; we are not angels, and we also don’t live in paradise.

2019: Looking Forward

Andreas Schlüter kopf einer gottin

Andreas Schlüter, Kopf einer Göttin (Head of a Goddess); Bode Museum Berlin, 1704. Photo: mine. Please do not reproduce without permission.

A new year is a good time for assessments and remembrances, for reflecting on moments good, bad, and otherwise. As well as a desire to keep more cultural experiences within the personal realm, I’d prefer look ahead, to things that spark my imagination and inspire expansion, challenge, and evolution.

Earlier this year a friend observed that my tastes have become (his words) “more adventurous” over the past eighteen months or so. Flattering as this is, it’s also a reminder of the extent to which I have layered over my past, one largely spent wandering through the vast, lusciously dark forests of curiosity and wonder. Decades of weighty responsibility cut that forest down and gave me a deep trunk, into which all the unfinished canvases of a fragrant, lush wonder were stored; I came to believe, somehow, such a trunk had no place in the busy crowded living room I’d been busily filling with the safe, acceptable predictability of other peoples’ stuff. My mother’s passing in 2015 initially created a worship of ornate things from her trunk — perhaps my attempt to raise her with a chorus of sounds, as if I was Orpheus, an instinct based more in the exercise of sentiment than in the embrace and extension of soul.

Contending with a tremendous purge of items from the near and distant past has created a personal distaste for the insistent grasping and romanticizing of history (though I do allow myself to enjoy some of its recorded splendor, and its visual arts, as the photos on this feature attest). Such romanticizing utterly defines various segments of the opera world, resulting in various factions marking themselves gatekeepers of a supposedly fabled legacy which, by its nature, is meant to shape-shift, twist, curl, open, and change. It’s fun to swim in the warm, frothy seas of nostalgia every now and again, but mistaking those waves for (or much less preferring them to) the clear, sharp coldness of fresh water seems a bit absurd to me. À chacun son goût, perhaps. 

kupka

František Kupka, Plans par couleurs, grand nu; 1909-1910, on loan to Grande Palais Paris; permanent collection, Guggenheim NYC. Photo: mine. Please do not reproduce without permission.

Rediscovering the contents of my own trunk, pulling each item out, examining it in the sunlight, looking at what it means now (if anything) and deciding whether to keep or bin, has been a slow if meaningful process; it has been a homecoming to myself, one groaning and gloriously stretching with every breath. Refreshingly, such a process has not been defined by the rather narrow tastes of a somewhat culturally dictatorial mother, but by things I like, things I miss, things have no need to feel validated for liking.

“You’re so serious,” I was once told, “serious and critical and intellectual.”

I don’t know if any of these things are (or were) true, but making a point of experiencing the work of artists who reveal and inspire (and challenge and move) has become the single-biggest motivating factor in my life. “Adventurous” is less a new fascinator than an old (and beloved) hat. Here’s to taking it out of the trunk, and wearing it often and well in 2019. 

Verdi, Messa da Requiem; Staatsoper Hamburg, January

The year opens with an old chestnut, reimagined by director Calixto Bieito into a new, bright bud. Bieito’s productions are always theatrical, divisive and deeply thought-provoking. Doing a formal staging Verdi’s famous requiem, instead of presenting it in traditional concert (/ park-and-bark) mode, feels like something of a coup. Paolo Arrivabeni conducts this production, which premiered in Hamburg last year, which features a stellar cast, including the sonorous bass of Gabor Bretz.

despair

Jean-Joseph Perraud, Le Désespoir; 1869, Paris; Musée d’Orsay. Photo: mine. Please do not reproduce without permission.

Tchaikovsky/Bartok, Iolanta Bluebeard’s Castle, NYC, January

A double-bill exploring the various (and frequently darker) facets of human relating, this Marius Treliński production (from the 2014-2015 season) features soprano Sonya Yoncheva and tenor Matthew Polenzani in Tchaikovsky’s one-act work; baritone Gerald Finley and soprano Angela Denoke perform in Bartók’s dark tale of black secrets, last staged at the Met in early 2015. The orchestra could well be considered a third character in the work, so rich is it in coloration and textures.  No small feat to sing either, as music writer Andrew McGregor has noted that “the music is so closely tied to the rhythms and colours of the Hungarian language.” Henrik Nánási, former music director at Komische Oper Berlin, conducts.

Vivier, Kopernikus; Staatsoper Berlin, January

Spoiler: I am working on a feature (another one) about the Quebec-born composer’s influence and the recent rise in attention his work have enjoyed. Kopernikus (subtitle: Rituel de Mort) is an unusual work on a number of levels; composed of a series of tableaux, there’s no real narrative, but an integration of a number of mythological figures as well as real and imagined languages that match the tonal colors of the score.  This production (helmed by director Wouter van Looy, who is Artistic Co-Director of Flemish theatre company Muziektheater Transparant) comes prior ahead of a production the Canadian troupe Against the Grain (led by Joel Ivany) are doing in Toronto this coming April.

Vustin, The Devil in LoveStanislavsky and Nemirovich-Danchenko Moscow Academic Music Theatre, February

It was while investigating the work of Russian composer and pianist Rodion Shchedrin that I learned about the work of contemporary composer Alexander Vustin — and became utterly smitten with it. A composer who previously worked in both broadcasting and publishing, Vustin’s opera is based on the 1772 Jacques Cazotte novel Le Diable amoureux, which revolves around a demon who falls in love with a human. Vustin wrote his opera between 1975 and 1989, but The Devil in Love will only now enjoy its world premiere, in a staging by Alexander Titel (Artistic Director of the Stanislavsky Opera) and with music direction/conducting by future Bayerische Staatsoper General Music Director Vladimir Jurowski.

zurich opera

Inside Opernhaus Zurich. Photo: mine. Please do not reproduce without permission.

Ligeti, Le Grand Macabre; Opernhaus Zurich, February

The Opernhaus Zurich website describes this work, which is based on a play by Belgian dramatist Michel de Ghelderode, as “one of the 20th century’s most potent works of musical theatre.” It is also one of the most harrowing things I’ve seen; anyone who’s experienced it comes away changed. Directed by Tatjana Gürbaca (who’s directed many times in Zurich now), the work is, by turns, coarse, shocking, cryptic, and deliciously absurd. General Music Director Fabio Luisi (who I am more used to seeing conduct Mozart and Verdi at the Met) was to lead what Ligeti himself has called an “anti-anti-opera”; he’s been forced to cancel for health reasons. Tito Ceccherini will be on the podium in his place.

Zemlinsky, Der Zwerg; Deutsche Oper Berlin, February

Another wonderfully disturbing work, this time by early 20th century composer Alexander von Zemlinsky, whose “Die Seejungfrau” (The Mermaid) fantasy for orchestra is an all-time favorite of mine. Der Zwerg, or The Dwarf, is an adaptation of Oscar Wilde’s disturbing short story “The Birthday of the Infanta” and is infused with the sounds of Strauss and Mahler, but with Zemlinsky’s own unique sonic richness. Donald Runnicles (General Music Director of the Deutsche Oper ) conducts, with powerhouse tenor David Butt Philip in the title role, in a staging by Tobias Kratzer, who makes his DO debut.

lucke grimace

Johann Christian Ludwig Lücke , Bust of a Grimacing Man with a Slouch Hat; 1740, Elfenbein; Bode Museum, Berlin. Photo: mine. Please do not reproduce without permission.

Kurtág, Fin de Partie; Dutch National Opera, March

Among the many music happenings of late which could be called an event with a capital “e”, this one has to rank near the top. Ninety-one year-old composer György Kurtág has based his first opera on Samuel Beckett’s 1957 play Endgame. Premiering at Teatro Alla Scala in November, music writer Alex Ross noted that “(n)ot since Debussy’s  “Pelléas et Mélisande” has there been vocal writing of such radical transparency: every wounded word strikes home.” Director Pierre Audi and conductor Markus Stenz (chief conductor of the Netherlands Radio Philharmonic Orchestra) bring Kurtág’s painfully-birthed opera to Amsterdam for three (nearly sold-out) dates.

Handel, Poros, Komische Oper Berlin, March

A new staging of a rarely-heard work by legendary opera director Harry Kupker, Handel’s 1731 opera based around Alexander the Great’s Indian campaign features the deep-hued soprano of Ruzan Mantashyan as Mahamaya and the gorgeously lush baritone of KOB ensemble member Dominik Köninger in the title role. Conductor Jörg Halubek, co-founder of the Stuttgart baroque orchestra Il Gusto Barocco (which specializes in forgotten works) makes his KOB debut. The combination of Kupfer, Handel, and Komische Oper is, to my mind, very exciting indeed.

woman bode

Southern Netherlands, Screaming Woman; late 16th century; Bode Museum, Berlin. Photo: mine. Please do not reproduce without permission.

Shostakovich, Lady Macbeth of Mtsensk; Opera National de Paris, April  

A new production of Shostakovich’s passionate, brutal, and darkly funny opera from innovative director Krzysztof Warlikowski, whose creative and thoughtful presentations have appeared on the stages of Bayerische Staatsoper, the Royal Opera, Teatro Real (Madrid), and La Monnaie (Brussels), to name a few. He also staged The Rake’s Progress in Berlin at Staatsoper im Schiller Theater. Here he’ll be directing soprano Ausrine Stundyte in the lead as the sexy, restless Lady, alongside tenor John Daszak as Zinovy Borisovich Ismailov (I really enjoyed his performance in this very role at the Royal Opera last year), bass (and Stanislavsky Opera regular) Dmitry Ulyanov as pushy father Boris, and tenor Pavel Černoch as the crafty Sergei. Conductor Ingo Metzmacher is on the podium.

Berlioz, La damnation de Faust; Glyndebourne, May

Glyndebourne Festival Music Director Robin Ticciati leads the London Philharmonic and tenor Allan Clayton (so impressive in Brett Dean’s Hamlet, which debuted at Glyndebourne in 2017) as the doomed title character, with baritone Christopher Purves as the deliciously diabolical Mephistopheles, and French-Canadian mezzo-soprano Julie Boulianne as Marguerite. I love this score, a lot, and quite enjoyed a 2017 staging at Opéra Royal de Wallonie. Likewise the work of director Richard Jones, whose Lady Macbeth of Mtsensk at the Royal Opera last year afforded some very creative choices and character insights; I’m very curious how he might approach Berlioz’s dreamy, surreal work, together with Ticciati’s signature lyrical approach.

hands neues museen

Pair of Hands from a group statue of Akhenaten and Nefertiti or two princesses; Neues Reich 18 Dynastie. At the Neues Museen, Berlin. Photo: mine. Please do not reproduce without permission.

Gluck, Alceste; Bayerische Staatsoper, May

A new production of Gluck’s opera about self-sacrificing love with a fascinating backstory: after its publishing in 1769, a preface was added to the score by Gluck and his librettist which outlined ideas for operatic reform. The list included things like making the overture more closely linked with the ensuing action, no improvisation, and less repetition within arias. Alceste came to be known as one of Gluck’s “reform” operas (after Orfeo ed Euridice). Two decades later, Mozart used the same chord progressions from a section of the opera for a scene in his Don Giovanni, which Berlioz called “heavily in-inspired or rather plagiarized.” The Bavarian State Opera production will feature a solid cast which includes tenor Charles Castronovo, soprano Dorothea Röschmann,  and baritone Michael Nagy, under the baton of Antonello Manacorda.

Handel, Belshazzar; The Grange Festival, June 

Described on The Grange’s website as “an early Aida,” this rare staging of the biblical oratorio sees a cast of baroque specialists (including tenor Robert Murray in the title role and luminous soprano Rosemary Joshua as his mother, Nitocris) tackling the epic work about the fall of Babylon, and the freeing of the of the Jewish nation. Musicologist Winton Dean has noted the work was composed during “the peak of Handel’s creative life.” Presented in collaboration with The Sixteen, a UK-based choir and period instrument orchestra, the work will be directed by Daniel Slater (known for his unique takes on well-known material) and will be led by The Sixteen founder Harry Christophers.

Festival Aix-en-Provence, July

The final collaboration between Kurt Weill and Bertolt Brecht (and the source of the famous “Alabama Song”), Rise and Fall of the City of Mahagonny will be presented in a new production featuring the Philharmonia Orchestra, led by Esa-Pekka Salonen. Director Ivo van Hove (whose Boris Godounov at the Opera de Paris this past summer I was so shocked and moved by) helms the work; casting has yet to be announced. Music writer Rupert Christiansen has noted that it “remains very hard to perform […] with the right balance between its slick charm and its cutting edge.” Also noteworthy: the French premiere of Wolfgang Rihm’s one-act chamber opera Jakob Lenz, based on Georg Büchner’s novella about the German poet. (Büchner is perhaps best-known for his unfinished play Woyzeck, later adapted by Alban Berg.) Presented by Ensemble Modern, the work will be helmed by award-winning director Andrea Breth and conducted by Ingo Metzmacher. This summer’s edition of the festival marks Pierre Audi’s first term as its new Director, and all five productions being staged are firsts for the fest as well.

sphinx altes

Sphinx of Shepenupet II, god’s wife of Amon; late period 25th Dynasty, around 660 B.C.; Altes Museum, Berlin. Photo: mine. Please do not reproduce without permission.

Enescu,Œdipe; Salzburger Festspiele, August

The Romanian composer’s 1931 opera based on the mythological tale of Oedipus is presented in a new production at the Salzburg Festival and features a stellar cast which includes bass John Tomlinson as the prophet Tirésias, mezzo-soprano  as Jocasta, mezzo soprano Clémentine Margaine (known for her numerous turns as Bizet’s Carmen) as The Sphinx, baritone Boris Pinkhasovich as Thésée, and baritone Christopher Maltman in the title role. In writing about Enescu’s score, French music critic Emile Vuillermoz noted that “(t)he instruments speak here a strange language, direct, frank and grave, which does not owe anything to the traditional polyphonies.” Staging is by Achim Freyer (who helmed a whimsical production of Hänsel and Gretel at the Staatsoper Berlin), with Ingo Metzmacher on the podium.

Schoenberg, Moses und Aron; Enescu Festival, September

In April 1923, Schoenberg would write to Wassily Kandinsky: “I have at last learnt the lesson that has been forced upon me this year, and I shall never forget it. It is that I am not a German, not a European, indeed perhaps scarcely even a human being (at least, the Europeans prefer the worst of their race to me), but that I am a Jew.” The ugly incident that inspired this would result in his mid-1920s agitprop play Der biblische Weg (The Biblical Way), from which Moses und Aron would ultimately spring. Essentially a mystical plunge into the connections between community, identity, and divinity, this sonically dense and very rewarding work will be presented at the biennial George Enescu Festival, in an in-concert presentation featuring Robert Hayward as Moses and tenor John Daszak as Aron (a repeat pairing from when they appeared in a 2015 Komische Oper Berlin production), with Lothar Zagrosek on the podium.

wexford

Post-opera strolling in Wexford. Photo: mine. Please do not reproduce without permission.

Wexford Festival Opera, October

It’s hard to choose just one work when Wexford is really a broader integrative experience; my visit this past autumn underlined the intertwined relationship between onstage offerings and local charms. The operas being presented at the 2019 edition include Der Freischütz by Carl Maria von Weber, Don Quichotte by Jules Massenet (which I saw, rather memorably, with Ferruccio Furlanetto in the lead), and the little-performed (and rather forgotten) Adina by Gioacchino Rossini, a co-production with Rossini Opera Festival. The latter will be paired with a new work, La Cucina, by Irish composer Andrew Synnott.

Strauss, Die ägyptische Helena; Teatro Alla Scala, November

A reimagining the myth of Helen of Troy (courtesy of Euripides) sees Paris seduce a phantom Helen created by the goddess Hera, while the real thing is held captive in Egypt until a long-awaited reunion with her husband Menelas. In a 2007 feature for the New York Times (published concurrent to a then-running production at the Met), music critic Anthony Tommasini characterized Hugo von Hofmannsthal’s libretto as “verbose and philosophical,” and posed questions relating to Strauss’s score thusly: “Is a passage heroic or mock-heroic? Opulently lyrical or intentionally over the top?” I suspect those are precisely the questions the composer wanted to be raised; he questions not just the tough questions around intimate relating, but ones connected with audience and artist. The piece features some breathtaking vocal writing as well. Sven-Eric Bechtolf (whose Don Giovanni I so enjoyed at Salzburg in 2016) directs, and Franz Welser-Möst leads a powerhouse cast that includes tenor Andreas Schager, baritone Thomas Hampson, and soprano Ricarda Merbeth as the titular Helena. This production marks the first time Die ägyptische Helena has been presented at La Scala.

Oskar Kallis, Sous le soleil d’été; 1917, on loan to Musée d’Orsay; permanent collection, Eesti Kunstimuuseum, Tallinn.

Messager, FortunioOpéra-Comique, December

I freely admit to loving comédie lyrique; the genre is a lovely, poetic  cousin to operetta. Fortunio, which was premiered in 1907 by the Opéra-Comique at the Salle Favart in Paris, is based on the 1835 play Le Chandelier by Alfred de Musset and concerns a young clerk (the Fortunio of the title) caught in a web of deceit with the wife of an old notary, with whom he is enamored. Gabriel Fauré, who was in the opening night audience (along with fellow composers Claude Debussy and Gabriel Pierné) noted of André Messager (in a review for Le Figaro) that he possessed “the gifts of elegance and clarity, of wit, of playful grace, united to the most perfect knowledge of the technique of his art.” This production, from 2009, reunites original director Denis Podalydès with original conductor Louis Langrée. Paris en décembre? Peut-être!

herbin composition

Auguste Herbin, Composition; 1928, Musée d’Art Moderne de la Ville de Paris. Photo: mine. Please do not reproduce without permission.

This list may seem extensive, but there’s so much I’ve left out — festivals like Verbier and Les Chorégies d’Orangehouses like Wiener Staatsoper and Teatro Real, outlets in Scandinavia (Den Norske, Royal Swedish Opera, Savonlinna) and Italy (Pesaro, Parma) and the UK (Aldeburgh, Garsington, ENO, and of course the Royal Opera). It’s still too early for many organizations to be announcing their upcoming (September and beyond) seasons; I’m awaiting those releases, shivering, to quote Dr. Frank-n-furter, with antici…pation.

And, just in the interests of clarifying an obvious and quite intentional omission: symphonic events were not included in this compilation. The sheer scale, volume, and variance would’ve diffused my purposeful opera focus. I feel somewhat odd about this exclusion; attending symphonies does occupy a deeply central place for me on a number of levels, as it did throughout my teenaged years. Experiencing concerts live is really one of my most dear and supreme joys. I may address this in a future post, which, as with everything, won’t be limited by geography, genre, range or repertoire. In these days of tumbling definitions and liquid tastes , it feels right (and good) to mash organizations and sounds against one another, in words, sounds, and spirit.

For now, I raise a glass to 2019, embracing adventure — in music, in the theatre, in life, and beyond. So should you. Santé!

Looking Good

Photo by Alexandar Antonijevic

Seeing The Nutcracker in Toronto is a special treat. Not only is there the wonder of James Kudelka’s sweeping choreography, Santo Loquasto’s beautiful, ornate design, and Tchaikovsky’s gorgeous, evocative score, the National Ballet of Canada’s yearly holiday production is also an opportunity to see people in formal attire.

“It’s really nice to see people dressed up,” noted my companion, “you don’t see it very often these days.”

There’s nothing wrong with being comfortable, of course, but lately it strikes me as if the dressing-down trend that defines so much of our attire indicates a certain… lackadaisical attitude socially, one reflected in a lack of effort extended  into relationships, education, basic curiosity: “Why should I initiate anything? Why do I need to bother with that person/idea/group? Why should I put myself in such a weird place? Why not just stay… comfortable?” The basic instinct toward comfort is understandable, in so far as the responsibilities of kids/jobs/mortgages/relationships/etc. can be difficult to balance at any given time, exhausting to maintain, and devastating upon crash. But the familiarity of comfort breeds the dangerous laziness of inertia, which so often leads to intransigence. A night out at the theatre can (and does) help combat this, in that its entails the effort of moving into a space many aren’t used to — but before you roll eyes, keep in mind it’s an effort that should be enjoyable, an effort reflecting grace, gratitude, gentility, and class, things sorely missing in the world.

This isn’t to say one needs become a full-time dandy like the ones photographer Rose Callahan documents so brilliantly in her work (impressive they may be), but simply to decry the lack of interest in formalism — in dressing up, and all it entails — in wider North American society. Attending the formal opening of The Nutcracker, and seeing mothers, fathers, grandparents, and children in formal attire was (as it is every year) a true treat, because it showed not only actual real effort on the part of patrons, it reflected a nice nod toward ritual, tradition, and yes, class. Dressing up isn’t so much about wiping one’s individuality out as it is underlining it in the most elegant/unique/fun possible way, and maybe even opening up your thinking in the most elegant/unique/fun possible way, too.

Photo by Bruce Zinger

Dressing up is, of course, one’s own form of theatre, aiding and enhancing both the occasion and one’s enjoyment of it. Attired in suit-and-tie/dress/etc, one plays a part, perhaps even a better or truer version of one’s self, as Oscar Wilde might argue. The Irish writer wisely noted the relationship between appearancemasks, and human character, and it’s one I tend to keep in mind, particularly at openings, though the experience begins percolating far before the curtain rises. The very process of getting ready to go out is, for me, a kind of meditation, and its own form of theatre, I suppose. I recall an interview with the performance artist Leigh Bowery some years back, where he confessed that he and his friends would sometimes do themselves up, and not go out; the act in and of itself was satisfying, its own kind of theatre. Likewise, re-defining what formal for yourself, as so many tend to do this time of year with things like festive suits and inspired costumes, is equally exciting (and fun!), demonstrating a wonderful curiosity and joie de vivre. There’s not enough of either, and it’s encouraging to see those instincts being expressed in fashion choices, especially at this time of year.

For many years, my dear mother used to decry the lack of dressy attire at various events we’d attend, namely the opera. This isn’t to say she didn’t enjoy Toronto-based company Against the Grain’s casual productions — she did, immensely (though she did smart casual when attending them, a tradition I tend to continue). AtG have done an amazingly smart job of mixing high art and casual approachability, and made opera a whole lot less scary for those completely new to its unique joys. But going to see opera in a fun pub is different than seeing it in a large house; the latter needn’t be scary, strange, and (horrors) uncomfortable; likewise with ballet. Going to The Nutcracker doesn’t require detailed knowledge of ETA Hoffman’s 1816 original work, or an in-depth interest in Tchaikovsky’s music, or even familiarity with the classic Baryshnikov performance.

Along with being a callback to her younger days, when zipping up a fancy dress and putting hair up and earrings on meant more than simply “getting dressed,” formal attire was for my mother (as it is for me) a way of giving back to the event artists: the musicians, performers, directors, and the designers. One look at the details of Santo Loquasto’s exquisite costumes and sets, for instance, and one is awed by the care, attention, and artistry required for such work. That giant golden egg! Those delicate flower-petalled skirts! The giant, waving arms of the festooned Christmas tree! The buttons! The tassels! Those crazy chickens! Then there’s the performers: Skylar Campbell‘s Peter is vibrantly youthful and spritely; Jillian Vanstone‘s Sugar Plum Fairy blends sharp technique and warm joy; Robert Stephen’s Uncle Nikolai is vibrant, passionate… dare I say sexy? (Surely, it is not a bad thing.) There’s the panoply of fantastical elements, too: the roller-skating bears, the dancing horse, the cancan-ing rats. Dressing up is more than a hat-tip; it’s a graceful bow to the mountain of creativity on the stage of the Four Seasons Centre. See if it you can. Dress up. You’ll love it.

Cracking Open

Heather Ogden in The Nutcracker. Photo by Bruce Zinger

There’s always something special about seeing The Nutcracker every December. The story of two children who, joined by stable boy Peter, enter a magical Christmas land, is a perennial favorite, and a compulsory part of many ballet companies’ holiday programming. The work, first premiered in 1892, features a libretto adapted from German author E.T.A. Hoffmann’s story “The Nutcracker and the Mouse King” and the National Ballet of Canada’s annual production, which features dancing bears, skittering chefs, and a sword-wielding King (of rodents, that is) —  is a feast for the eyes and ears. James Kudelka, choreographer and librettist, has created a visual feast that captures the glittering beauty of a snowy Christmas but still retains all the warmth and merriment of the season, with the perfect mix of grand and intimate movements reflecting Tchaikovsky’s famous score.

This year marks its 20th anniversary, and opening night, the company featured its first Peter, Rex Harrington, along with his partner, Bob Hope, as Cannon Dolls (various “dolls” through the years have included Toronto Mayor John Tory, author Margaret Atwood, skater Kurt Browning, and astronaut Chris Hadfield). The show, which is an opulent riff on Russian design motifs (it even features a giant, decorated egg from which the Sugar Plum Fairy emerges), is a clever blend of old and new, European and North American, art and entertainment, and it’s these integrations that make it so successful. You know you’re seeing something artful and beautiful (Santo Loquasto’s set and costume designs are truly stunning), but at the same time, you can’t help but smile, even chuckle, at the panoply of delights being presented, whether it’s the dancing horse, skating bears (my personal favorite) or the giant Christmas tree, with its gracefully waving branches and bobbing baubles.

Artists of the Ballet in The Nutcracker. Photo by Bruce Zingerr.

It’s equally heartening to see students of all ages from the National Ballet School onstage, proudly strutting their stuff; such a buoyant presence gives one hope for not only the future of the art form, but for cultural presentation and passion. Ninety-eight students in total are featured in the production; they’re from the Ballet School as well as local Toronto schools. That’s an incredible achievement in and of itself —I imagine the backstage area of the Four Seasons Centre this time of year to be something akin to organized chaos— so full kudos are in order to National Ballet School Rehearsal Director Laural Toto and assistant Patrick Kastoff, as well as Stage Managers Jeff Morris and Lillane Stillwell, and Assistant Stage Manager Michael Lewandowski. Thumbs way up.

As with any proper professional production, none of the backstage chaos is, ever sensed onstage. The audience is left to wonder over the myriad of riches being presented, and, because of this richness, there’s always something new for us to consider and marvel over. This year I felt drawn to the team of young male dancers who have an especially impressive ensemble number near the beginning of the show. From my own vantage point, 2015 has been a year littered with numerous (and frequently painful) examples of machismo gone awry, so watching this year’s presentation of The Nutcracker, it was deeply refreshing to note the young male dancers and their smiles, their light-footedness, their utter lack of self-consciousness. This isn’t to say ballet can’t be macho — ballet history is littered with many dancers, male and female in fact, who have channelled a particular brand of raw power that has thrilled audiences over the decades — but there was something, for me, awfully touching about seeing young boys onstage, engaging in an art form frequently thought of as “girlie,” from of a purely joyous, non-gendered place. “I love doing this!” their bodies seemed to hum, “I love it!”

McGee Maddox with Artists of the Ballet in The Nutcracker. Photo by Bruce Zingerr.

Greatly complementing this pure instinct on opening night was dancer McGee Maddox, who, as Peter, radiated a cuddly, floppy-haired boyishness in his impressive turns, pas-de-deux routines, and great leaps of James Kudelka’s choreography. Less swagger and more sweetness, Maddox is a lovely, deeply likable stage presence, the perfect fit for a production that is candy-apple sweet and spicy-cider cozy. Joining him was Heather Ogden’s Sugar Plum Fairy (a gorgeously warm performance) and Robert Stephen’s Uncle Nikolai, whose great leaps and dizzying turns nicely integrated both commanding authority and playful whimsy. There’s something so special about walking out of a production feeling plain old good, and in this, the National Ballet’s production of The Nutcracker absolutely excels. Smiles are in short supply these days, on both epic and intimate levels; it’s nice to have a work that channels pure joy, unapologetically. We need it.

Powered by WordPress & Theme by Anders Norén