Terry Gilliam & ENO's 'Benvenuto Cellini'

[Flosshilde]

Extracts in today's Guardian (G2) from Gilliam's diary about directing Benvenuto Cellini. http://www.theguardian.com/music/201...ni-berlioz-eno
I also caught him on the radio saying he'd brought in circus performers so that the audience would have some entertainment during the music. He obviously doesn't care about the music - "the overture. It lasts 10 minutes: too long for the audience to sit through waiting for the show to begin. Co-director Leah Hausman and I decide to give it a huge back story – make it an opera in itself, with sheep, hillsides, shepherds, Cellini travelling to Rome, meeting other sculptors, falling in love with Teresa ..." & has fights with Edward Gardiner about cuts. Enough to confirm anyone's worst thoughts about directors! I wonder if the patron who put up the money for this production had any say in who the director was (& if the conductor does).

[french frank]

I liked this bit:

"If this were theatre, there are several cuts you'd make. At one point, we find out Cellini's going to die if he doesn't get the sculpture done. They sing: "Hung by the neck until dead/'til dead/'til dead." Boom. Then black. And CUT. Or at least, that's what you want, dramatically. But no. Berlioz then has the music go, "Dum, te-te dum, da da da-da-da da-da-da DAAAA-dum" for several more minutes. He just goes on and on – he loves his playouts. There's no way of maintaining tension; it just dribbles away. So we decide to have some fun and at least get a laugh at the end of a supposedly dark moment..."

Hmm. Anyone planning to go? IGI, I presume?

[Il Grande Inquisitor]

Hmm. Anyone planning to go? IGI, I presume?

Indeed, I shall be reviewing opening night tomorrow. I interviewed Ed Gardner the other week (officially about Bergen) and he has huge enthusiasm for this opera and the cast assembled for it.

[richardfinegold]

I liked this bit:

"If this were theatre, there are several cuts you'd make. At one point, we find out Cellini's going to die if he doesn't get the sculpture done. They sing: "Hung by the neck until dead/'til dead/'til dead." Boom. Then black. And CUT. Or at least, that's what you want, dramatically. But no. Berlioz then has the music go, "Dum, te-te dum, da da da-da-da da-da-da DAAAA-dum" for several more minutes. He just goes on and on – he loves his playouts. There's no way of maintaining tension; it just dribbles away. So we decide to have some fun and at least get a laugh at the end of a supposedly dark moment..."

Hmm. Anyone planning to go? IGI, I presume?

I have to say that I find myself agreeing with some of Gilliam. If Berlioz had more of a dramatic sensibility, his Operas would be performed more instead of being trotted out as occasional curiosities . Now he may be going a bit to far, but would we expect anything less Pythonesque?

[ferneyhoughgeliebte]

If Berlioz had more of a dramatic sensibility

I have to say that this is like saying "if Bach had more of a gift for counterpoint"; or, "if Chopin had more understanding of the expressive potential of the piano": it's a statement that makes no sense to me.

[Flosshilde]

Indeed, I shall be reviewing opening night tomorrow. I interviewed Ed Gardner the other week (officially about Bergen) and he has huge enthusiasm for this opera and the cast assembled for it.

but a diplomatic silence about the director ?

[richardfinegold]

I have to say that this is like saying "if Bach had more of a gift for counterpoint"; or, "if Chopin had more understanding of the expressive potential of the piano": it's a statement that makes no sense to me.

I haven't seen a Berlioz Opera for a few decades now, so perhaps I would feel differently now, but I had seen Cellini, Beatrice and Trojans when I was in my 20s and I just didn't think they worked as theatre in the same way that Mozart, Wagner or Verdi works do. Berlioz Operas are not programmed as often as the great works by other Composers, so I conclude that my opinions must be shared to some degree by others.
This is obviously not an opinion that you concur with, Ferney, and I won't belabor it.
As I think back, I think when I saw Trojans, the two were presented on the same day, which may have created some long
Lasting antipathy on my part. Perhaps I should revisit it under more ideal circumstances. I was so drawn to Berlioz Orchestral works, such as the Fatastique, that are so evocative of the theater, than when I actually saw works by Berlioz intended for the theatre (Opera), I was disappointed that they fell short of my expectations.
Obviously seeing the staging as described by Flosshilde won't make me a convert, as it does not sound properly respectful. Although I am a huge fan of the director, stunts such as circus performers during the overture and the like is clearly over the top.

One of my favorite concerts in the last few years was Mark Elder conducting the CSO in excerpts from Romeo et Juliette. The excerpts were interspersed with Actors performing the poisoning scene, which is not the traditional Scene that we are used to, but from an altered version that was popular around Berlioz time (R & J have a brief dialogue when J awakens and Romeo is still alive).

[jean]

There was ten minutes or so about it on tonight's Newsnight, just after 11.

[David-G]

If Berlioz had more of a dramatic sensibility, his Operas would be performed more instead of being trotted out as occasional curiosities

I can scarcely think of a composer with a greater dramatic sense than Berlioz - except perhaps Mozart. I have always regarded "Les Troyens" as one of the very greatest of music dramas.

[David-G]

Extracts in today's Guardian (G2) from Gilliam's diary about directing Benvenuto Cellini. http://www.theguardian.com/music/201...ni-berlioz-eno
I also caught him on the radio saying he'd brought in circus performers so that the audience would have some entertainment during the music. He obviously doesn't care about the music

It is Mardi Gras! Wikipedia tells us: "Popular practices include wearing masks and costumes, overturning social conventions, dancing, sports competitions, parades, debauchery, etc." I hardly think that circus is inappropriate!

I have just returned from the opening performance. It is a fine show and I enjoyed it very much, though I do feel that the production is open to criticism in certain respects. I could elaborate - but right now I need to get to bed!

[Richard Tarleton]

There was ten minutes or so about it on tonight's Newsnight, just after 11.

Yes, I thought he rather overstated his distaste for opera "purists" [sic] and was puzzled by his remarks on opera singing, which gave the impression that he hadn't seen much opera recently. Perhaps he hasn't - only if he's directing!

[DracoM]

Friend of a friend of a friend is in the pit and reports that backstage it is 'interesting'. They are bracing themselves.

[Bryn]

Since it is being recorded 'live' on the 17th for cinema viewing, hopefully there will eventually be a DVD. In the mean time I will try and stay alert for any decent low price ticket offers. I found it pretty dramatic when Colin Davis conducted it, a concert performance in English, at the Proms in 1972.

[richardfinegold]

I can scarcely think of a composer with a greater dramatic sense than Berlioz - except perhaps Mozart. I have always regarded "Les Troyens" as one of the very greatest of music dramas.

Fair enough. I need to try them again after sitting out the last 30 years or so.
Now, if only the local Opera Programmers will cooperate...

[zola]

I attended the second performance last night. Those wanting to be outraged by a disrespectful self indulgent modern production will be disappointed. In fact I was mildly disappointed that it was not more OTT, ENO did a more convincing bacchanalia for the Vanity Fair scene in Pilgrim's Progress. Did I enjoy it ? Yes, the orchestra was superb and Berlioz's writing for orchestra sublime. A substantial lead performance from Michael Spyres as Cellini and Corinne Winters was a feisty Teresa. Supporting cast adequate apart from Balducci who was under powered and all but inaudible from up in the balcony where I was. Hopefully some sound engineer can rectify this for the radio and cinema broadcasts.

Does the opera have flaws ? Well, yes. A thin plot, no character with any real psychological depth and no showstopping memorable aria. But the sum of the parts holds together with the orchestral writing the musical highlight for me. The chorus are obviously having a ball and the onstage gusto takes the audience along with it for the most part. I was a little surprised to see quite a few empty seats in the balcony, I had thought the Gilliam name and the pre-publicity would have ensured a more or less sell out.