Prom 6 - 22.07.14: Der Rosenkavalier - Glyndebourne Prom

[Bryn]

While Act II and later sections of the Prom are now available on the Listen Again facility of the iPlayer, Act I and the first interval feature remain shown as "This episode will be available soon". I have reported the fault but it might help is others do likewise.

[Lento]

Do people feel that the music in Rosenkavalier is consistently inspired? On hearing the complete work for the first time, I felt that it seemed to meander a little in places - or, perhaps, that was just my concentration. Also, does anyone know something about the musical structuring? There were some obvious recurrences of themes/motifs but it didn't seem as rigorous as Wagner's use of leitmotifs (or indeed Elgar's in the Kingdom etc). Perhaps through-composed operas are just a little harder to get a grip on.

What struck me particularly was how musically conservative the music was for its time and in the context of earlier Strauss works. As was discussed in the first interval talk one can, I suppose, debate whether this was a musical sell-out or simply an appropriate stylistic response to the plot. I took it that Schönberg's serial comic opera Von heute auf morgan (1928-30) turned out not to be a total success. Perhaps someone here has experience of it?

[Ferretfancy]

Do people feel that the music in Rosenkavalier is consistently inspired? On hearing the complete work for the first time, I felt that it seemed to meander a little in places - or, perhaps, that was just my concentration. Also, does anyone know something about the musical structuring? There were some obvious recurrences of themes/motifs but it didn't seem as rigorous as Wagner's use of leitmotifs (or indeed Elgar's in the Kingdom etc). Perhaps through-composed operas are just a little harder to get a grip on.

What struck me particularly was how musically conservative the music was for its time and in the context of earlier Strauss works. As was discussed in the first interval talk one can, I suppose, debate whether this was a musical sell-out or simply an appropriate stylistic response to the plot. I took it that Schönberg's serial comic opera Von heute auf morgan (1928-30) turned out not to be a total success. Perhaps someone here has experience of it?

Constant Lambert in 'Music Ho! ' ( 1933) said that one could not imagine Schoenberg writing a comic opera, though I'm not sure if he saw Von heute auf Morgan'

Standing in the Arena last night I was aware that Act 1 of Der Rosenkavalier is very long, and wordy even by Hoffmannstahl's standards. We were not too crowded, which was a comfort. I enjoyed the performance, but I suspect in this case that the balance may have been better on the broadcast than in the hall. The problem was that all the action was staged on a shallow platform situated just under Sir Henry's bust, with entries and exits along the top risers on either side.

Thus everything vocal had to fight its way through the sound of the very large orchestra with no orchestra pit. The staging had been re-imagined for the Prom with a large cast of flunkies, courtiers. musicians etc. often reduced to facing sideways making stylised gestures. There were some very nice touches, the sound of the offstage orchestra in the gallery was a good example, and the key moments came off well. I wonder, how many of us listen at home to just the key moments on our favourite CD set ?

Luckily the cast was in good voice, and Baron Ochs was a more sympathetic figure than he sometimes is, I thought of Malvolio once or twice.
This wan't the perfect operatic Prom from the production point of view, and I wasn't too sure about Robin Ticciati's rather overemphatic conducting, but luckily the sublime moments that we all love came across beautifully,

All in all, an interesting evening, but not a stunner. I'm looking forward to Salome and Elektra later in the season -blood and guts on a hot night!

[Bryn]

While Act II and later sections of the Prom are now available on the Listen Again facility of the iPlayer, Act I and the first interval feature remain shown as "This episode will be available soon". I have reported the fault but it might help is others do likewise.

The full 4 hours 52 minutes now available at http://www.bbc.co.uk/programmes/b04b2kfx

[Prommer]

Sadly no Semyon Bychkov to conduct Elektra now... has apparently damaged his hip.

Where's Christian Thielemann when you need him? Bayreuth probably!

[ferneyhoughgeliebte]

So why did the second interval last night commence nearly ten minutes before the given time?

Bearing in mind that the works to be included in a Prom season are often programmed months if not years in advance, (in other words, before anyone had heard Ticciati's conducting of the work) I wouldn't be surprised if someone just got out the nearest CD of the piece, used the running times on that as a working template and it just slipped into the final scheduling.

[ferneyhoughgeliebte]

I took it that Schönberg's serial comic opera Von heute auf morgan (1928-30) turned out not to be a total success. Perhaps someone here has experience of it?

It isn't helped by the over-acting of performers who seem determined to emphasize "this is a comedy; laugh NOW!", but whilst Arnie's wit could be felicious and lightly ironic in his instrumental works, the broad comedy he wished for in this work comes across as very heavy-handed and forced. Stravinsky's comment that he wished the sprechgesang in Pierrot Lunaire would shut up so that he could listen to the instrumental miracles going on behind it seems very true about the performances I've heard (... errm; both, that is!) of Von Heute.

[Il Grande Inquisitor]

Do people feel that the music in Rosenkavalier is consistently inspired? On hearing the complete work for the first time, I felt that it seemed to meander a little in places - or, perhaps, that was just my concentration.

No, there are definitely longeurs - particularly the opening scene of Act III. One of the highlights of Richard Jones' production (which I didn't much like, on the whole) was his handling of this scene.

My review of last night's Prom: http://bachtrack.com/review-proms-ro...urne-july-2014

[Lento]

I enjoyed the performance, but I suspect in this case that the balance may have been better on the broadcast than in the hall.

I think you are probably right: I didn't notice balance problems at home, but then I'm a first time listener to this opera. One suspects that the listener at home often gets the better deal, in that respect.

I've heard it said that, all being well, Strauss' score is masterly in its use of a sumptuous orchestral palette without overwhelming the singers.

[Lento]

No, there are definitely longeurs - particularly the opening scene of Act III. One of the highlights of Richard Jones' production (which I didn't much like, on the whole) was his handling of this scene.

My review of last night's Prom: http://bachtrack.com/review-proms-ro...urne-july-2014

As long as they aren't longeurs that get longeur and longeur (groan). Great review, but Jones seems to have a rather worrying interpretation, from what you say.

[Prommer]

Kate Royal's portrayal (or should that be her 'portroyal', spoken with a Cockney accent?) in the theatre was rather good I thought, but I notice on the broadcast that even the Royal Albert Hall doesn't round out or give any bloom to her voice. It's got a fair incipient wobble too and as IGI says, is a mite too small. Overall effect is not very winning.

[Flosshilde]

just under Sir Henry's bust,

I thought it was Tarra Erraught's bust that was the problem?

[Nick Armstrong]

Stravinsky's comment that he wished the sprechgesang in Pierrot Lunaire would shut up so that he could listen to the instrumental miracles going on behind it

... is quite a precise reflection of my reaction to the gesang in most operas....

Kate Royal's portrayal.... even the Royal Albert Hall doesn't round out or give any bloom to her voice. It's got a fair incipient wobble too and as IGI says, is a mite too small. Overall effect is not very winning.

The production featured heavily in the BBC4 documentary at the end of last month (http://www.bbc.co.uk/programmes/b047pcy9 currently unavailable but knowing BBC4 it'll be repeated before long). The principals and Jones were all interviewed (indeed the programme seemed more like a puff for the production than a documentary about the house). In any event, the extract from the final trio made me think that Ms Royal's Marschallin is not something I'm desperate to hear.

[Conchis]

My first Prom....nine years and it did not disappoint.

The work is over-long (Strauss and von H seemed to fall in love with Baron Ochs and clearly found him funnier than any audience could) and not all of it is at the same level of inspiration as the 'best bits' but those best bits are very fine indeed.

I thought Kate Royal was distractingly sexy:to the point that I couldn't concentrate on her singing. However, I think I understood what Jones was getting at with his casting choices: with these three principals, it became a story about a young man who realises he's 'pulled out of his league' and so settles for someone of his own (literal and metaphorical) stature. No complaints at all about Tara Erraught or the replacement Sophie.

Richard Jones must be the finest director working in opera today:his productions always serve the work, with welcome but not jarring originality.

[Prommer]

Sadly no Semyon Bychkov to conduct Elektra now... has apparently damaged his hip.

Where's Christian Thielemann when you need him? Bayreuth probably!

So sorry to have been prematurely glum on this - it is listed as Bychkov's next assignment on his website so he has cancelled everything but this, it seems, in August... Hurrah!