The Royal Opera’s last two Handel productions, Theodora and Alcina were superb, can the latest Jephtha match them? It’s certainly cast from strength with Allan Clayton taking the lead role and Brindley Sherratt, and baroque specialist Laurence Cummings conducting (the last person to conduct this piece at Covent Garden was Handel himself - so no pressure there). Oliver Mears’ contemporary take on The Rape of Lucretia was impressive, so his updating of the oratorio could be interesting. Anyone going?
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An oratorio rather than an opera, but WNO put on a production some years back and even I (notoriously unmoved emotionally by music) found it extremely moving, in spite of the fact that the Biblical story make little sense nowadays.It isn't given us to know those rare moments when people are wide open and the lightest touch can wither or heal. A moment too late and we can never reach them any more in this world. -
... but the biblical story of Jephtha is no more silly than the classical story of Idomeneo - they're basically the same - and they provide the foundations for one of Handel's greatest oratorios and one of Mozart's most musically interesting operas..Originally posted by french frank View PostLast edited by vinteuil; 07-11-23, 17:03.Comment
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Yes, my point was that once presented as an opera (as with many operas) the 'silliness' of the plot is magically irrelevant.Originally posted by vinteuil View PostIt isn't given us to know those rare moments when people are wide open and the lightest touch can wither or heal. A moment too late and we can never reach them any more in this world.Comment
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... whereas there is nothing 'silly' in the various biblical tales behind the oratorios?Originally posted by french frank View Post
For me, here also it becomes, as you put it, 'magically irrelevant'...
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I think it’s the dilemma caused by the promise and acceptance of human sacrifice within a society whose religion has prohibited it, let alone the implications for the ‘deity’, that is fascinating to explore. That is certainly not a ‘silly’ thing, it’s a test for the society and its structure and provides a metaphor for much else. Whether Mears chooses to explore that aspect, or finds another, I shall have to wait and see.Comment
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Whenever I read a profile like this, I experience reverse envy, thanking my lucky stars that it’s not me. I’m glad they make the music, but nothing about the life seems appealing.Originally posted by oddoneout View Post
I have a friend who was a violin prodigy. He was concertizing (include concertos) at age 12, but burned out by age 20 and doesn’t regret it. He said to me, “The life is too hard. It’s not just talent. You have to built for the life.”
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Three stars from Richard Morrison in today's Times.
I seem unable to create a shareable link.Comment
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According to the synopsis on the ROH cast sheet:Originally posted by Pulcinella View Post"……Jephtha vows to Jehovah that if he is granted victory, he shall either sacrifice to God the first living thing he sees when he gets home, or dedicate them to live eternally for God………
………..Returning home, Jephtha is met by his daughter. He is horrified, as Iphis is the first living thing he sees. Remembering only half of his original vow and convinced he must sacrifice his daughter, he sends her away,………...Tormented, Jephtha prepares to make the sacrifice……
……..the ritual of sacrifice begins – only to be interrupted at the last minute when Angel appears, declaring that Jephtha has remembered only half of his vow, and that a human sacrifice will not please God. Iphis will live, but must be dedicated to the service of the Lord, and remain a virgin. The Israelites praise God’s great mercy;……….."
Morrison has similarly forgotten clause 2 - I suppose if Jeptha forgot about it, a journo critic would argue he should be excused. Assuming the plot only requires Jeptha to sacrifice his daughter, the criticism is:“Mears subverts all that — a decision that requires pretty well every performer to act in the opposite way to the words being uttered”He points out that the setting bears no relation to Israel at anytime (maybe some disappointment at play there is no controversy to generate for the pages of The Times) "neatly sidesteps" - so would I say points to Mr Mears. Morrison is generally appreciative of the performers, particularly Clayton, but points out that the Hamor sings flat and that generally there is “too much histrionic sobbing” and a few other cavils
I presume the ROH is correct about the plot. I’m not downhearted, and will wait to see it. Critics!p.s :Very true, in the theatre or however its seen, suspension of disbelief etc etc. And, of course, Handels composition.
[QUOTE=french frank;n1289625] Yes, my point was that once presented as an opera (as with many operas) the 'silliness' of the plot is magically irrelevant. [/QUOTE]Last edited by Cockney Sparrow; 10-11-23, 12:21. Reason: Last edited by CS;Today, 11:18. Reason: Colour the prev posts.Typos & to see if deleting lines in edit works (as there is no way to limit blank lines on composition, that I can find) - Yes! it doeComment
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Hopefully this link works . It’s supposed to be shareable !Comment
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That's what mine looked like when I posted, and on clicking I would have had to log in despite being a subscriber, as I do with yours!Originally posted by Ein Heldenleben View Post
Their new/updated app is behaving very oddly: I don't like it as much!
I should perhaps have said 'Only three stars (out of five)' too.Comment
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It annoying that as it says “create shareable link “Originally posted by Pulcinella View Post
That's what mine looked like when I posted, and on clicking I would have had to log in despite being a subscriber, as I do with yours!
Their new/updated app is behaving very oddly: I don't like it as much!
I should perhaps have said 'Only three stars (out of five)' too.Comment
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Indeed it does, and it did until very recently!Originally posted by Ein Heldenleben View PostComment
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