A rundown of recent performances: - The Tempest on 12/18 at Shakespeare Theatre Company, directed by Ethan McSweeny The Bards valedictory play, on the surface a romance with many comedic touches (Harold Bloom has long disputed this classification and insisted that it is in fact a tragicomedy), is a meatier work than As You Like It with a singular character in Prospero (often considered a stand-in for Shakespeare himself), complicated further by its meta-theatrical conceit that seems to question its very status as drama itself. As such it requires a production of unusual intelligence that avoids being not only unconscious but especially misconscious of Shakespeare/Prosperos intent. On that score this one largely succeeds, thanks to Geraint Wyn Davies most knowing Prospero. He understands that by renouncing his magic hes not just bringing the play to a happy close but also inviting the audience to break the fourth wall between theater and life, rendering us no longer as passive spectators but active participants. Easily the best lead among this seasons DC Shakespeare productions (Anthony Cochranes Brutus in Folgers Julius Caesar was barely passable--in opera hed be a spinto rather than a helden). Ethan McSweeny deftly blends the multiple subplots together--a more difficult feat than it sounds--and provides ravishing pageantry for act IV, scene 1s masque, though you think it should be more self-conscious than is McSweenys version. And a special shout-out goes out to Dave Quays Stephano, who is delightfully buffoonish. This production just got extended thru Jan 18. Go see it if youre in the area. - Handels Messiah on 12/19 at Kennedy Center, National Symphony Orchestra and Washington Chorus conducted by Nicholas McGegan Shaw once observed the impossibility of obtaining justice for the Messiah in a Christian country, as the utmost reverence for the works object of worship tends to shortchange the genius of its creator. And indeed, Handels Messiah (theres no definite article in the works original title--one of the few careless mistakes Shaw ever made, because he of all people shouldve known why) has perhaps never enjoyed more popularity as a Christmas institution in this supposedly increasingly secular age, which tends to treat it as a holy relic deserving of the most respectful care and devotion. Of course the problem with this approach, apart from its typically patronizing attitude towards religion, is that oratorios, despite their sacred origins which in the minds of many set them apart from operas, are in essence theatrical pieces (and Messiah happens to be the most famous of them all, which has more insidious ramifications than those traceable only to Handels biggest hit) and as such should entertain as well as enlighten, which is possible only when you put the spotlight on Handel and treat the oratorio as a work closer in spirit to one of his operas than, say, to one of Palestrinas masses. Thankfully this crucial insight does not escape McGegan. Now my night didnt exactly start out swimmingly, as I forgot to bring my Carus study score of Messiah (edited by none other than Ton Koopman) which has served me well in previous live performances, and while I could have bought a different score at the concession stand as a substitute I decided against it when it became clear that the dumbass cashier didnt even know what urtext is. So it wasnt in the most salubrious of spirits that I sat down in my seat and waited for McGegan and Co to make their dutiful entrance and partake in yet another misguided run-through of Messiah. Well, this was one instance in which the pleasantly surprised cliche came to mean something. Ill just quote my post-concert exchange with McGegan: Me: Excellent performance, by the way. Once I heard the overture I knew I wasnt gonna be disappointed. MG: Thank you! Me: Most conductors protract it a little too much. MG: Well, had to stick to a time limit [grins all around]. Needless to say MG was being modest. He knew how and when to move the music forward, perhaps a little too much in spots as is most period-performance specialists wont, but the big choruses had plenty of power and the slower ones never dragged. Possibly the best period-instrument Messiah Ive heard either live or on record since Gardiners reference version, which is saying a lot. BTW I was the first in line in the green room this time, so its a miracle that I even got to talk to MG after having him autograph my CD (his recently acclaimed album of Haydns mature symphonies) and program. Nics gracious and, for lack of a better term, avuncular disposition charmed everyone, as when he advised me to be careful with the ink and use my CD liner notes as a temporary fan. Look forward to seeing him again with the baton and with the marker pen. - A Renaissance Christmas on 12/20 at Folger Shakespeare Library, presented by Folger Consort with guest vocalists and instrumentalists Nothing much to add except that this early-music concert was just as enjoyable and accomplished as the bands last one. From the Gloria from Johannes Ockeghems mighty Missa prolationum (spelled Prolacionem in the program notes), quite possibly the single greatest virtuoso work of counterpoint in the entire Renaissance, to the lighter Italianate instrumental fare, the program was varied in moods and styles and should please any discerning listener. Heres one of the numbers performed, Josquin des Prezs sublime Ave Maria (my all-time favorite setting of this text): https://youtube/watch?v=qUNzi900ZJw Four more performances remaining, two on Sunday at 2 & 5 pm and Monday and Tuesday at 7:30 pm each. Highly recommended especially for those not familiar with the great music of this period. That should be my last cultural partaking of the year, which means this shall be my last dissertation of 2014. Merry Christmas, everyone.
Posted on: Sun, 21 Dec 2014 10:31:36 +0000
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