Mackerras conducts Vec Makropulos at ENO
Posted by: Tam on 03 June 2006
Those who read my posts will doubtless be aware how I feel about Charles Mackerras. I am also a fan of Janacek and have a particularly soft spot for Makropulos because it was the first 'good' opera I ever saw. Previously I'd seen a rather poor Manon Lescaut and a poor Turandot (though, in fairness, I don't think either work is especially fine). However, in Makropulos one not only has a fine work, but also, in the Glyndebourne production I was lucky enough to see, one that was staged to near perfection (in point of fact, I believe, though have not, as yet, bothered to track it down, that production can be found on DVD). One of the things that made that production so wonderful was the furniture moved imperceptibly across the stage on a conveyer belt (which fits rather nicely with what the things about). I hadn't realised quite how well Janacek does it at the time, but the way the music carries the emotion is near perfect. Anyway, it was the production that convinced me that there was something in this opera stuff after all.
After that, I learned of Sir Charles's association with Janacek (he gave many of the first UK, performances of his works, and it thanks in no small measure to his championship of this music that it is now considered mainstream) and have acquired almost all of his opera and other recordings. A year or two ago I heard him give a reading of the Glagolitic Mass with the Philharmonia which was nothing less than stunning. However, I have never since seen either a staged Janacek opera nor (perhaps even more surprisingly) have I ever heard Sir Charles in the opera house (though I have heard him give a great many operas in concert). When I learnt that ENO were staging Makropulos, it was therefore an opportunity too good to pass up. I shall give warning now that this post is going to be somewhat adulatory, but not, I think, undeservingly so (I was certainly not alone in the audience in having enjoyed it immensely). It is also worth noting that, so often when you have high hopes for something, it disappoints - one of the reasons I love Mackerras so much as an artist is that he never seems to.
Now, in many of the reviews the production has come in for some flak, this is unfair. It isn't hugely imaginative (and basically only one set for all three acts - though dressing it strewn with flowers in act 2 is a nice touch) and I don't really think the lawyers writing on the blackboard to labour certain points worked at all. However, the general 'art deco' theme fits well. However, where the production really fails is twofold: in the first instance it suffers horribly from 'ENO Chorus Syndrome', I feel sure that they must have some contract that they must be on stage in every act even if there is no earthly reason (much less stage direction) to justify it, this also occurred in the Ring, fortunately, closing one's eyes solved this when it became overly intrusive; secondly, there was some quite awful direction (Christopher Alden) and the blocking of the movement of the characters made next to no sense and there was a lot of unnecessary stuff going on.
However, none of that really mattered because this was Sir Charles's evening. ENO's orchestra hasn't been what it once was in recent years (and even at its best under Paul Daniel, it would be hard to judge it as a first rank orchestra). Last night it was stunning. I honestly believe that if you had taken someone blindfold into the Coliseum they would never have guessed that was where they were and that the orchestra they were hearing. The overture was electrifying. The effects (particularly that of the placement - out of the pit I assume - of the trumpets at times) was quite wonderful. There was some incredible percussion (as is a necessity in Janacek). Indeed, one of the things that makes Janacek unique, to these ears, is the sound he gets from the Brass - and the ENO orchestra delivered it to perfection. There are so many wonderful sonic moments I would pick out - but if you weren't there there would be little point - thank the lord Chandos have captured 3 performances and will be releasing it at some point. I know there is something special in a live
The opera lives or dies on the performance Emilia Marty (or Makropulos) and Cheryl Barker was wonderful. Interestingly this is the first time I have been to ENO since supertitles were introduced, which really sorted the wheat from the chaff as one only had to glance at them for those who were not up to it. John Graham-Hall was wonderful as Vitek and most of the rest of the cast was fine without being outstanding. There was no one so weak that it caused problems.
There has been criticism that the opera is being performed with 2 intervals (given each act is around half an hour, this is not always necessary - and I suspect it may have been so to allow Mackerras to keep to full strength - if so it worked wonders and the blindfolded person who would not have believed this was the ENO orchestra wouldn't have believed an octogenarian was on the podium), anyway, I had no complaints (especially as we kept running into people we hadn't seen in years and having to have drinks). As I said at the start the way Janacek's music underscores the drama is key. I think this is clearer nowhere than the third act. Makropulos is an awful woman who, in her 300 year life, has done some frightful things and yet the script makes her alternately the subject of revulsion and pity. And Janacek's score throws you masterfully from one to the other and back and forth again. I'm tempted to suggest that this emotional roller coaster was one of the most draining and moving musical or dramatic events I have ever experienced. It moved me to tears.
I have probably said enough, but I want to underscore one final point about Sir Charles's conducting. His sense of the dramatic - not simply the way he got the score to pull you exactly where it should, but one more thing beyond that struck me - his pauses. The way he held them (at the one or two dramatic moments at which they occur) was magical, just that fraction longer than one would think possible. It is this sense of the dramatic, and knowing how and when to hold back, that I think makes his conducting (and especially, say, his Beethoven symphonies) quite so special. This, coupled with what he was able to achieve with the ENO orchestra leads me to make this point: he must certainly be considered a great conductor. I know Graham disagrees with me (and feels there are none left), but if to do that with those forces is not greatness, I do not know what can be.
This truly was an amazing evening and I feel tremendously luck to have heard and seen it.
Sadly there are but two more performances and last night was Sir Charles's final one. The other two will be conducted by Alexander Briger (however, while it will clearly not be quite so fine, the orchestra must contain some muscle memory of what they did for Mackerras and I would still recommend a trip).
As I noted, the performances will be released by Chandos on Opera in English and I cannot wait. I have Sir Charles's classic Decca account with the VPO but listening to that today, I preferred the orchestral sounds I heard last night. I know that some of that must be down to the magic of live music, but I think his interpretation was superior at ENO and had a degree more energy. Suffice to say they cannot release the disc soon enough. Until then, I am sure ROTF will second my recommendation of budget box of all his VPO recordings.
However, there is better news. While I am not quite so much a fan of the work, he is slated to do Kata Kabanova at Covent Garden next season - based on what I heard last night I can only advise that you beg, borrow or steal in order to hear him do Janacek in the flesh (though not until after I have secured my tickets) - it is a truly special thing.
regards, Tam
After that, I learned of Sir Charles's association with Janacek (he gave many of the first UK, performances of his works, and it thanks in no small measure to his championship of this music that it is now considered mainstream) and have acquired almost all of his opera and other recordings. A year or two ago I heard him give a reading of the Glagolitic Mass with the Philharmonia which was nothing less than stunning. However, I have never since seen either a staged Janacek opera nor (perhaps even more surprisingly) have I ever heard Sir Charles in the opera house (though I have heard him give a great many operas in concert). When I learnt that ENO were staging Makropulos, it was therefore an opportunity too good to pass up. I shall give warning now that this post is going to be somewhat adulatory, but not, I think, undeservingly so (I was certainly not alone in the audience in having enjoyed it immensely). It is also worth noting that, so often when you have high hopes for something, it disappoints - one of the reasons I love Mackerras so much as an artist is that he never seems to.
Now, in many of the reviews the production has come in for some flak, this is unfair. It isn't hugely imaginative (and basically only one set for all three acts - though dressing it strewn with flowers in act 2 is a nice touch) and I don't really think the lawyers writing on the blackboard to labour certain points worked at all. However, the general 'art deco' theme fits well. However, where the production really fails is twofold: in the first instance it suffers horribly from 'ENO Chorus Syndrome', I feel sure that they must have some contract that they must be on stage in every act even if there is no earthly reason (much less stage direction) to justify it, this also occurred in the Ring, fortunately, closing one's eyes solved this when it became overly intrusive; secondly, there was some quite awful direction (Christopher Alden) and the blocking of the movement of the characters made next to no sense and there was a lot of unnecessary stuff going on.
However, none of that really mattered because this was Sir Charles's evening. ENO's orchestra hasn't been what it once was in recent years (and even at its best under Paul Daniel, it would be hard to judge it as a first rank orchestra). Last night it was stunning. I honestly believe that if you had taken someone blindfold into the Coliseum they would never have guessed that was where they were and that the orchestra they were hearing. The overture was electrifying. The effects (particularly that of the placement - out of the pit I assume - of the trumpets at times) was quite wonderful. There was some incredible percussion (as is a necessity in Janacek). Indeed, one of the things that makes Janacek unique, to these ears, is the sound he gets from the Brass - and the ENO orchestra delivered it to perfection. There are so many wonderful sonic moments I would pick out - but if you weren't there there would be little point - thank the lord Chandos have captured 3 performances and will be releasing it at some point. I know there is something special in a live
The opera lives or dies on the performance Emilia Marty (or Makropulos) and Cheryl Barker was wonderful. Interestingly this is the first time I have been to ENO since supertitles were introduced, which really sorted the wheat from the chaff as one only had to glance at them for those who were not up to it. John Graham-Hall was wonderful as Vitek and most of the rest of the cast was fine without being outstanding. There was no one so weak that it caused problems.
There has been criticism that the opera is being performed with 2 intervals (given each act is around half an hour, this is not always necessary - and I suspect it may have been so to allow Mackerras to keep to full strength - if so it worked wonders and the blindfolded person who would not have believed this was the ENO orchestra wouldn't have believed an octogenarian was on the podium), anyway, I had no complaints (especially as we kept running into people we hadn't seen in years and having to have drinks). As I said at the start the way Janacek's music underscores the drama is key. I think this is clearer nowhere than the third act. Makropulos is an awful woman who, in her 300 year life, has done some frightful things and yet the script makes her alternately the subject of revulsion and pity. And Janacek's score throws you masterfully from one to the other and back and forth again. I'm tempted to suggest that this emotional roller coaster was one of the most draining and moving musical or dramatic events I have ever experienced. It moved me to tears.
I have probably said enough, but I want to underscore one final point about Sir Charles's conducting. His sense of the dramatic - not simply the way he got the score to pull you exactly where it should, but one more thing beyond that struck me - his pauses. The way he held them (at the one or two dramatic moments at which they occur) was magical, just that fraction longer than one would think possible. It is this sense of the dramatic, and knowing how and when to hold back, that I think makes his conducting (and especially, say, his Beethoven symphonies) quite so special. This, coupled with what he was able to achieve with the ENO orchestra leads me to make this point: he must certainly be considered a great conductor. I know Graham disagrees with me (and feels there are none left), but if to do that with those forces is not greatness, I do not know what can be.
This truly was an amazing evening and I feel tremendously luck to have heard and seen it.
Sadly there are but two more performances and last night was Sir Charles's final one. The other two will be conducted by Alexander Briger (however, while it will clearly not be quite so fine, the orchestra must contain some muscle memory of what they did for Mackerras and I would still recommend a trip).
As I noted, the performances will be released by Chandos on Opera in English and I cannot wait. I have Sir Charles's classic Decca account with the VPO but listening to that today, I preferred the orchestral sounds I heard last night. I know that some of that must be down to the magic of live music, but I think his interpretation was superior at ENO and had a degree more energy. Suffice to say they cannot release the disc soon enough. Until then, I am sure ROTF will second my recommendation of budget box of all his VPO recordings.
However, there is better news. While I am not quite so much a fan of the work, he is slated to do Kata Kabanova at Covent Garden next season - based on what I heard last night I can only advise that you beg, borrow or steal in order to hear him do Janacek in the flesh (though not until after I have secured my tickets) - it is a truly special thing.
regards, Tam